Bright 8: Graduate School Directory 2012/13

Bright 8

Graduate School Directory 2012/13

Graduate School — — Directory 2012/13

ISBN 978-1-908339-02-7

ISBN 978-1-908339-02-7

9 781908 339027

CCW

CCW Camberwell Chelsea Wimbledon

Bright 8

Graduate School Directory 2012/13

CCW Camberwell Chelsea Wimbledon

Contents

An Informed Community of Practice — — 7 The Graduate School Themes 8 Overview: Refractive Spaces 9 Environment 11 Technologies 13 Social Engagement 15 Identities — — 17 Visiting Scholars 18 Preface 19 Dr Ethel Brooks 21 Professor Kazue Kobata 23 Thomas Joshua Cooper 25 Professor John Sturgeon 27 Professor David Leiwei Li — — 29 Partnerships 30 Doctoral School, Academy of Fine Art, Budapest 31 MISTRA Future Fashion 33 AHRC Artists’ Moving Image Research Network 35 SHARE 38 Royal Melbourne Institute of Tech­nology (RMIT) 39 Victoria & Albert Museum (V&A) 40 Tate Britain 41 Tokyo WonderSite 42 Cape Farewell — — 43 Postgraduate taught courses 44 Introduction to MA courses 45 MA Art Theory 46 MA Book Arts 5

MA Conservation MA Curating MA Designer Maker MA Digital Arts MA Digital Arts Online MA Drawing MA Fine Art MFA Fine Art MA Graphic Design Communication 56 MA Illustration 57 MA Interior and Spatial Design 58 MA Printmaking 59 MA Textile Design 60 MA Visual Language of Performance 61 MRes Arts Practice 62 How to Apply 64 Profile: Natasha Hoare 65 Profile: Gloria Zein — — 67 Research Degrees 68 Research Study at CCW: MPhil/PhD. How to Apply 69 Current Research Degree Supervisors 71 Completed and Confirmed Research Degree Students 2011/12 72 Profile: Jennifer Ballie 73 Profile: Aaron Mcpeake 75 Profile: Dr Paul Ryan — — 77 Professors 78 Paul Coldwell 80 Jane Collins 82 Neil Cummings 84 Catherine Elwes 86 Stephen Farthing 88 David Garcia 90 Eileen Hogan 47 48 49 50 51 52 53 54 55

Nicholas Pickwoad Kay Politowicz Stephen A.R. Scrivener Chris Wainwright Toshio Watanabe — — 103 Readers 104 Michael Asbury 106 Jordan Baseman 108 David Cross 110 Rebecca Earley 112 Mark Fairnington 114 James Faure Walker 116 Rebecca Fortnum 118 Yuko Kikuchi 120 Hayley Newman 122 Michael Pavelka 124 Malcolm Quinn 126 Carol Tulloch — — 129 Research Centres and Networks 130 TrAIN 132 Ligatus 135 The Centre for Drawing: A Network 136 Textiles Environment Design (TED)/ Textile Futures Research Centre (TFRC) — — 137 Bright Publications 138 Bright Editorial Board 139 PARADE: Public Modes of Assembly and Forms of Address 140 The Currency of Art 141 Relay: Circulating Ideas 142 The Good Drawing 143 Expedition 92 94 96 98 100

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An Informed Community of Practice

Professor Chris Wainwright, Pro Vice-Chancellor Camberwell, Chelsea, Wimbledon colleges I would like to introduce you to this publication marking the beginning of the fourth year of the Graduate School here at Camberwell, Chelsea and Wimbledon Colleges. It is the eighth in our series of Bright publications that acts as one of the ways of profiling 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 characterize these three specialist art colleges. Its rationale has been founded upon the reputations and strong traditions in all three colleges for well-established, high quality undergraduate and postgraduate provision and mature research cultures that are equally comfort­ able 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 postgraduate 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 exis­ tence of real and sustainable partnerships and collaborative arrangements with external

institutions, organizations and key individ­ uals in the cultural sector and beyond.

There are two key aspects of the Gradu­ ate 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 super­ vision, and that their research forms a crucial aspect of our student learning experience.

The second is a commitment to providing a series of overarching thematic reference points that form a catalyst for cross-disciplinary exchange, collaboration and discourse, and a means of responding to broader social and cultural agendas that transcend subject-specific concerns. We continue as in previous years to maintain a commitment to the areas of Environment, Technologies, Social Engagement, and Identities as themes and to now fully amplify these through our Graduate School events programme, and at those points during the year when we will be bringing together our taught postgraduate and research degree communities with our research staff and external partners in specific projects and activities.

These two features of the Graduate School form the basis for our community of practice as well as a means of providing an opportunity for individual and group work that is informed by a rigorous critical framework that sets creative practice and enquiry in a broader social, cultural and economic context. It is our strong belief that the four key Graduate School themes of Social Engagement, Environment, Identities,

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An Informed Community of Practice

and Technologies represent significant and continuing challenges to all our lives in a rapidly changing world, and that artists and designers have a critical role to play in shaping how we as human beings occupy our changing planet.

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The Graduate School Themes

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Overview: Refractive Spaces During the formation of the Graduate School the four key themes of Technologies, Social Engagement, Environment and Identities were identified as best encapsulating the varied projects and debates taking place in our research communities. From the outset, these themes were seen as a starting point rather than a destination, and a catalyst for development; they were never designed to be an end in themselves.

Although our themes have remained nominally the same, their modulation and reception has been in continuous flux as they are ‘debated, mediated, remediated, archived, embedded and mashed-up’.* During the four years of the Graduate School’s existence, very few projects or lines of research have been limited to just one of the themes. Almost always, our projects contain at least two or more themes but with different weights and intensities. For example, in the MISTRA Future Fashion project, the Textiles Environment Design (TED) research group combined the themes of environment and technology, as the group’s approach of deploying design research thinking to ameliorate the environ­ mental damage of the fashion industry combines with the work of Swedish scientists who have developed technological innova­ tions to create new, long-lasting fabrics.

In another example, the research group Critical Practice combine the Social Engagement and Technologies themes by weaving the development of new modes of cooperation and institutional innovation together with the use of cooperative techno­ logies, such as wikis.

Finally, we never allow ourselves to forget that as artists and designers our greatest strength lies in the soft power of poetics. We are not journalists; we do not so much reflect reality as refract it. Each

of our themes acts like the facets of a prism, bending the forms that pass from one medium or discipline into another, refracting them anew as a wide spectrum of expressive and sometimes illuminating practices. Rather than constraining us, our themes can and frequently do create oblique and powerful refractive spaces.

David Garcia CCW Dean of Graduate School *

Kluitenberg, E. (2011) The Legacies of Tactical Media.

Amsterdam, Institute of Network Cultures.

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Environment David Cross

Far from being a reality, ‘sustainability’ is a contested ideal, encompassing issues of environment, development and social justice.

The CCW Graduate School is engaging with sustainability at every level, from grass roots student projects to the development of our institutional strategy; and across all areas, from practical steps to reduce our ecological footprint, to the theoretical work of critically engaging with sustainability through the teaching, learning and practice of art and design.

With Cape Farewell, CCW Graduate School is responding to the complex and pressing issues of climate change. Twenty CCW artists and designers took part in Cape Farewell’s SHORTCOURSE/UK, a three-day urban expedition in London led by a team of artists, scientists and academics. In February 2012, the Triangle Space at Chelsea College hosted their exhibition, Without Boats Dreams Dry Up. Also in February, a Future Planning Symposium for Cape Farewell took place with the University of Southampton, University College Falmouth and Liverpool John Moores University.

The renowned artist Thomas Joshua Cooper gave an enthralling lecture at Camberwell in November 2011. Enitled ‘At the Edge of the World’, Cooper’s lecture presented an artistic encounter with the elemental forces of nature in some of the most remote and inhospitable parts of the planet. At Chelsea College in March 2012, the philosopher Mark Fisher explored the question, ‘Capitalist Realism – Is There No Alternative?’, which was followed by a discussion with David Cross about the relationship between ideological and ecological limits.

Sustainability has also been a catalyst for the development of new forms of pedagogy, linking the student curriculum to

practices in design, industry and the public sphere. Since 1996, Textiles Environment Design has been developing and refining TED’s TEN – sustainable design strategies to help textile and fashion designers navigate complex sustainability issues in order to design ‘better’. The MISTRA Future Fashion research programme is funded by Sweden’s Foundation for Strategic Environmental Research. Led by Rebecca Earley and Profes­ sor Kay Politowicz, the research explores how to embed sustainable design within companies, and involve consumers. TED and MISTRA launched textiletoolbox.com, an open innovation platform for designers and experts to engage with new ideas. The aim is to create systemic change in the fashion industry through more sustainable design thinking and processes.

The Banana Theory was a collaboration between the UCL Centre for Urban Sustainability and Resilience, and MA Interior and Spatial Design at Chelsea, led by Ken Wilder. At the centre of the Rootstein Hopkins Parade Ground at Chelsea is a square of lawn, which the students cut away to make a giant Quick Reader code. ‘Smart’ phones scan QR codes to access information on products and services – such as the carbon footprint of a banana! Through an elegant gesture, ‘The Banana Theory’ directed people to ideas and debate, connecting art with science, and consumption with production.

A new initiative in this area is Sustainable Growth?, a symposium to be held in partner­ ship with the University of the Arts Berlin that will bring together economic and envi­ ron­mental thinkers with artists and designers, to explore how visual culture relates to the tensions between economic wealth and environmental well-being.

Innovative thinking on sustainability also depends on long-term engagement and

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Environment

collective organization. Creative Transitions is a group of staff and postgraduate students who are passionate about sustainability and resilience in art and design education. With micro-projects like the Camberwell Carrots’ pop-up allotment, a carbon footprinting workshop by Carbon Descent and Convert!, Holly Stephenson’s art project on compost­ ing, Creative Transitions draws inspiration from contemporary artists, designers, writers and activists, to picture the art and design school that we want to create for the future.

At CCW, the engagement with sustain­ ability is wide-ranging. But have we gone far enough? Increasingly, scientific evidence supports the case for structural changes to consumer society that will take us well beyond the comfort zone of mainstream political and media discourse. For artists and designers, the future demands fascinating, vital work exploring sustainability through visual culture.

Creative Transitions at Farm Shop, Dalston, London 2011

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Technologies David Garcia

‘The world is clearly not becoming more virtual. The cyber-prophets were wrong here.

The virtual is becoming more real…’.* In the image, we see how students at the CCW Graduate School inscribed QR code into the architectural space of the CCW Millbank campus. The project used networked technology to explore the difficulties we face when deciding how to change our lifestyles to become greener. The next phase of the project involves the placement of smaller QR code stickers around the campus. When scanned with a smartphone, each code will take the user to information on the carbon footprint of that particular object on our website: bananatheory.org.

This is one of a number of Graduate School projects that reveal the degree to which technology no longer simply mediates our environment; rather, technology is our environment. So dominant has the tech­ nological paradigm become that it can no longer be seen simply as the carrier of cultural content. Increasingly, technology is ‘the prime mover and architect of cultural systems’, the locus in which contemporary identities and political issues are shaped and social engagement unfolds. As the web 2.0 hype resolves into a combination of social media and augmented reality, we are finally leaving the foothills of the internet revolution and entering an era of hybrid media whose consequences we can but only dimly grasp.

This migration of the virtual into the real is most visible in the way in which the once airy realm of digital media is becoming ever more tangible, as successive generations of touchscreens and other mobile devices have propelled into prominence a new aesthetics of multiple touchpoints in which every device becomes an interface to a network of

The Banana Theory, 2012, installed at Chelsea College of Art and Design

systems and services. In the project My Digital Life, the Chelsea based academic Pete Maloney is working with PhD student Charlotte Web to track the online lives of a number of student volunteers, looking at how they use technology in their work, social and creative lives. The students will talk about a range of topics, including the crea­ tion of augmented reality books, social interventions that make use of technology, participating in an online course from the Cambodian jungle, creating fashion pro­ motion videos using only an iPad, and considering the overall pros and cons of being an online student.

The interconnection of the virtual and tangible is also explored in ways that touch on our subjects deeply, in the work of Athanasios Velios, whose work began with the application of computing to conser­ vation, moving progressively towards projects that address the digital archiving of cultural objects and events in relation to the semantic web. These and other tech­ niques of creative archiving were applied to radical contemporary art as we see it through Athanasios’s work on the John Latham archive; they promise exciting new developments in both scholarship and technological innovation.

For all the practical benefits that these technologies bring, many research-oriented artists and designers are increasingly aware

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Technologies

of the new dimensions of control embedded in technologies that were once touted as tools of freedom. At the Graduate School, one of a number of projects through which we address these faultlines is an ongoing research programme centered around The Tactical Media Files, an online archive at tacticalmediafiles.net, charting the role that Do-It-Yourself media are playing in the rise of new social movements.

As part of this research, Neil Cummings and David Garcia participated in the Media Squares conference that took a critical look at the hype around the role that social networks played in the recent wave of worldwide street protests. However sceptical we should be about silly terms like Twitter or Facebook Revolutions, it would be equally foolish to diminish the role that these networks have played. From the long-standing blogger networks that created the initial conditions for the uprisings, through to the ubiquitous cameraphones ‘held in the hands of thousands if not millions of protesters… a radical multi­plication of singular perspectives – captured, mediated, remediated, stored, archived, embedded and mashed-up media – had truly moved on to the streets’**.

These are among the many issues related to the rise of hybrid technologies that we are exploring in the Graduate School programme, where many of our questions boil down to the question posed by virtual reality pioneer Jaron Lanier, in his recent book You Are Not a Gadget (2010), wherein he asked, ‘What happens when we stop shaping the techno­ logy and technology starts shaping us?’*** *

Lovink, G. 2012. Networks Without a Cause: a Critique of Social Media. Oxford: Polity Press. ** Kluitenberg, E. 2011. The Legacies of Tactical Media.

Amsterdam: Institute of Network Cultures. *** Lanier, J. 2010. You are not a Gadget: a Manifesto.

Toronto: Alfred A. Knopf

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Social Engagement Neil Cummings

Social engagement is one of the emergent research themes within the CCW Graduate School. ‘Social engagement’ encapsulates the personal, taught, collab­orative, and cluster-based research within the school, as well as our intention to engage with external partners, and broader social and cultural environments.

‘Social engagement’ is an awkward term, and yet it has become common currency within the various art and design worlds.

It offers an alternative to the individualism that often dominates these worlds, which can obscure the social processes implicit in creative production. ‘Social engagement’ is a collective noun for a seething mass of messy, unpredictable, inspirational, coopera­ tive, beautiful, innovative, often generous, and political creative practices. Practices whereby people and the contexts that pro­ duce them are brought together for mutual examination, exchange and transformation.

Social engagement underpins many of the CCW taught courses, including the interrelationship of public space and performer in MA Visual Language of Performance; curating as a creative method that cuts across different social practices (physical, broadcast and digital) in MA Curat­ ing; space-making as a design activity that enables us to collectively produce and inhabit social space in MA Interior and Spatial Design; art that engages with, uses and is impacted by ‘the digital’ on the MA Digital Arts course; and the exploration of the roles and responsibilities of the designer in environmental scarcity in the MA Textile Design course.

Researchers at doctoral level, attracted by the expertise within the CCW Graduate School, are pushing the boundaries of what social engagement might include. Current research projects include (amongst others);

‘Documenting the Kurdish Genocide’; ‘Considerate Clothing: an Exploration of Co-Design Methods’; ‘Utterance and Author­ ship in Dialogic Art’; ‘Socially Engaged Art Practices and Culture-led Regeneration’; ‘Ludic Interventions in Dialogic Space’; ‘Socialized Activity, Play and “The Game”’; ‘Cinematic Writing: Thinking Between the Viewer and the Screen’.

Artists, teachers, students, researchers, technicians, administrators, Readers and Professors within CCW also have particular interests in social engage­ment. One focus for these interests is Critical Practice (CP).

Initiated in 2005, Critical Practice 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 the institutions of exhibition, seminars and conferences; cooperated with archives and collections, publi­cations, broadcast and other distributive media and film, along with concert and event programmes, while actively seeking to collaborate. CP has a long-standing interest in art, public goods, spaces, services and knowledge, and a track record of producing original, participatory events.

In 2010, we developed Parade, a project to explore the diverse, messy, contested and vital conceptions of being in public. In the heart of Chelsea, is the Rootstein Hopkins Parade Ground. Here, in public, we created a bespoke, temporary structure within which a two-week landmark event unfolded, with a host of international contributors. Parade challenged the lazy, institution­alized model of social engagement – in which amplified ‘experts’ speak at a passively assembled ‘audience’: at Parade, our modes of assembly, forms of address, and the knowledge shared were intimately bound.

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Social Engagement

Parade, 2010

‘The Future Is Social’ symposium, led

by Sonia Boyce, addressed recent debates about the politics, aesthetics and quality of contemporary art made through collabora­ tion and participation. Interrogating the core conditions of socially-engaged arts practice, this symposium addressed the dynamics of social sculpture, authorship, the gift economy, and the nature and status of the document. The event concluded a two-week experimental project led by Boyce and postgraduate students across Camberwell, Chelsea and Wimbledon Colleges of Art and Design, and also featured films and per­ for­mances made during this residency.

Awkward though the term is, ‘social engagement’ encapsulates many of the vital, and emergent areas of expertise represented by staff, taught courses, researchers, research clusters, the public programme of CCW Graduate School, and our willing cooperation with others.

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Identities Carol Tulloch

Identities are about ‘positioning’, difference, becoming, and being, concerns that resonate with the research aims of the Graduate School. The complex negotiation, construc­ tion and maintenance of identities is also a fundamental research concern of the Trans­ national Art, Identity and Nation Research Centre (TrAIN). Its members have explored transnational identities on macro and micro levels as evidenced in early projects such as National, Identity and Modern: Visual Culture of India, Japan and Mexico, 1860s– 1940s; whilst the more recent research initiative, Meeting Margins – Transnational Art in Europe and Latin America, 1950–1978, ‘focused on artistic encounters between Europe and Latin America, as well as intraLatin American exchanges.’

In 2012, Ope Lori, a Graduate School/ TrAIN PhD candidate, invited PhD students across the University of the Arts London to take part in a student-led conference. The resultant Contested Sites/Sights conference was devised by the committee of Pamela Kember (CCW), Idit Nathan (CSM), Corinne Silva (LCC) and Caroline Rabourdin (CCW).

The primary aim of the conference was to consider the ‘equivocal territories where consensus cannot be reached’. A lasting impression of the event was a plea for the reclamation and re-presentation of space and place.

The work of this conference was aligned with the research of Dr Ethel Brooks, the 2011–12 Fulbright-University of the Arts London Distinguished Chair. Brooks argues that it is now time to critically reclaim the spaces associated with Romani culture, to end the relentless racism against their communities and commit to making ‘Roma presence a visual presence’. This position was further explored in the TrAIN workshop/ seminar, ‘You Talking To Me?’ Film, Difference

and Representation, developed out of the TrAIN PhD Seminar, Ghosts: The Haunted City, led by Brooks, which highlighted the problematics of racialization and visual representations of Romani and Black people.

Through two exhibitions at the Museum of Childhood, London, artist and curator Rebecca Fortnum of Camberwell College of Arts focused on the everyday negotiations of children to be themselves and construct their own identities. Absurd Imposition was a collection of Fortnum’s drawings that included children drawn with their eyes closed; a space they can escape into their own ‘dreams and imaginings’ away from the control of adults. Fortnum was also the curator of visual artists’ work in the exhi­ bition Imagination of Children.

Narratives of identity in portraiture were explored by Jane Collins, Professor of Theatre and Performance, who in 2012 organized Still Life at Wimbledon College of Art, an interdisciplinary symposium that used the interface between fine art and theatre to examine how life stories are composed and identities constructed through portraiture and performance. Papers by Simon Betts, Jane Collins and Eileen Hogan were followed by a performance of ‘Still Life – An Audience with Henrietta Moraes’, a play by Sue MacLaine that blended performance with life drawing. Collins also staged Romeo, Juliet and the Security Guard at Hyderabad Univer­ sity in September 2011. This performance examined the impact of global networks of communication and increased security on local identities, and was restaged for the National Festival in Delhi in January 2012.

The issue of identities and their repre­ sentation in museums has been highlighted through the published outcomes of the AHRC-funded Tate Encounters project between Tate Britain, London South Bank

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Identities

University and CCW/UAL, represented by Dr David Dibosa at CCW. The project has raised awareness of the concept of ‘post identity’ in relation to the ‘cultural authority’ of museums and new generations of migrants who did not want to be framed in the terms ‘race’ or ‘ethnicity’.

The role of the archival object in the telling of lives was something explored through a cocktail glass that belonged to Carol Tulloch’s Jamaican parents. Donald Smith, Director of Chelsea Space gallery, and Tulloch made a joint presentation in the ‘Graduate Encounters’ lecture series in 2011.

In their presentation, they discussed selected artefacts from their personal archives to give an insight into their individual approaches to

Blackman Yard, London E1 1977 © Syd Shelton

research and curating. Tulloch included the glass as a familial reminder of the camara­ derie enjoyed at the parties that her parents gave in those early days of mid-20th century Commonwealth migration and the formation of a black community in Doncaster, South Yorkshire. Donald Smith later displayed the glass in his exhibition Ideal Home (2011).

The network of research at the Graduate School continues to ask the ‘why’ and ‘how’ of identity formation and protection. This is a never-ending endeavour as long as agency and empowerment is sought by individuals and groups who demand the freedom to be.

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Visiting Scholars

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Preface CCW hosts a vibrant community of visiting scholars and artists, including the US–UK Fulbright Commission Visiting Distinguished Chair and Scholar, Gasworks Visiting Artist, Kunstlerhaus Schloss Balmoral Visiting Artist and the Tokyo WonderSite Artist Exchange.

The research carried out by our community of external colleagues is an important 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 Profes­ sors who help to enhance and develop our key subject areas. For 2012/13 they are: Professor Rosi Braidotti Guy Brett Catherine Lampert Professor Deborah Nadoolman Landis

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Dr Ethel Brooks

US–UK Fulbright Distinguished Chair at the University of the Arts London 2011–12 During the academic year 2011–12, Dr Ethel Brooks served as the US–UK Fulbright Distinguished Chair at the University of the Arts London in residence at the Research Centre for Transnational Art, Identity and Nation (TrAIN) at the CCW Graduate School. Dr Brooks is Associate Professor in the Departments of Women’s and Gender Studies and Sociology at Rutgers University and author of the award-winning book Unraveling the Garment Industry. 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, she reflects on this experience during her residency.

The search for a good stopping place, for a kushti atchin tan, as we would say in Romani, is what brought me to London and to the CCW Graduate School. I began my tenure as the Fulbright Distinguished Chair at the University of the Arts by asking, ‘Do Gypsies – Romani people – have a right to the city?’. With an emphasis on shifting notions of citizenship, belonging and global integration, and an examination of racial regimes and land-tenure practices in a global city, I proposed to explore post-war to neoliberal practices of racialization, gendering and land tenure through the prism of Romani productivity and occupation of urban space.

I set out to investigate the relationship between city planning and the maintenance of Romani populations as constitutive outsiders to modern city spaces and, by extension, to con­temporary citizenship regimes. I pondered the questions: are Romani people simply ‘out of place’? Is there a Romani right to, history of and place in the city? What kinds of practices go into the search for a kushti atchin tan in London?

During my time in London, and my residence at CCW and TrAIN, I have found a good stopping place in every way imaginable. I arrived in the wake of the London riots, in the midst of the Occupy protests, and in the lead up to the 2012

Olympics. This has been a critical moment to be here, to be studying the question of who belongs in the city and whose histories are told. As part of CCW, I have been incredibly fortunate to be part of a greater creative project of imagining the city in the midst of its transformation. Everyone at CCW and the University of the Arts – the administrative, teaching and research staff, and the incredible graduate students – has amazed and inspired me with their brilliance, dedication and creative practice. During my time here, I have been pushed to think in different ways, to take my research in unforeseen, absolutely transformative direc­ tions, and to engage in practice in ways that I had never before considered. I have learned so much from this community of artists, scholars, teachers and curators; I am in awe of the engaged work that is being done here, in the midst of a city in foment and in a moment of transformation. The academic programmes, the exhibitions, the shows and the performances that I have attended, and the lectures, masterclasses and programmes that I have given, have all pushed my scholarship, my thinking and my practice, into exciting, uncharted territory.

Being in residency here, being part of the Graduate School’s engagement with London and beyond, into the world, has shown me

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Dr Ethel Brooks

the crucial work that artistic practitioners and arts researchers do in changing our under足 standing of the world around us: episte足 mologically, politically, culturally, socially, yes; but also imaginatively, with engagement and in beautiful ways that open up new ways of dreaming. The CCW Graduate School is an absolute model for higher education; the community here is marked by matchless commitment, imagination and absolute brilliance. My colleagues, interlocutors and friends at CCW, TrAIN and the University of the Arts London have deeply influenced my approach to scholarship, to art, to activism and to the city. I will take all of the inspiration, the work and the insights that I have gained here back to Rutgers with the

In the Ruins of the Gypsy Camp, Ethel Brooks

hope that it will be as transformative for my home institution as it has been for me.

I look forward to continuing the work that we have begun together, to strengthening the ties between our institutions and to making the projects begun during my stay here ones that have lasting effects.

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Professor Kazue Kobata Visiting Researcher

Kazue Kobata is a Professor and Dean of the Intermedia Arts Department at Tokyo National University of the Arts. For 20 years, she was an Adjunct Curator and Representative of P.S.1 Contemporary Art Center/MoMA in New York. She is the founder and executive committee member of the artist-run multi-art cooperative Plan B in Tokyo. From 1988–2010 she also ran the annual international multimedia open air artcamp Hakushu in a farming village near Tokyo. She is currently a producer and correspondent for New York’s Clocktower Gallery’s Art on Air programme. From 1982–1990, she was involved in multinational political, economic, cultural and social research for the Japanese-government-founded think tank, the National Institute for Research Advancement. She has been extensively involved in the arts, working as an editor, curator, translator, project planner and producer both in her homeland of Japan and abroad.

There are threads both visible and invisible which span across all the different facets of life, connecting them. While the visible ones are clear for all to see, the ability to make the invisible ones discernible to the naked eye reveals a kind of art to the world.

Working within the artistic realm, one can quickly draw a connection between sculpture and painting, or fashion and dance; but as the invisible threads are revealed, we might see a connection to biology, or literature, or radical politics, or particle physics. The discursive examination, presentation and production of the warp and weft of these threads has been the challenge that Kazue Kobata has involved herself with since the 1970s, traversing the realms of art, science, language, photography, architecture, landscape, performance, film, opera and philosophy.

Graduating with a degree in Journalism from Sophia University in 1969, Kobata was engaged in various endeavours, includ­ ing editing the Japanese version of the Encyclopedia Britannica. She later worked for Forum International, as an editor for the Japanese intellectual magazine Yu, and in the latter half of the 1970s interned at De Appel in Amsterdam. Shortly after, she started

becoming heavily involved in translation work, over time bringing the works of Lyall Watson, Tony Godfrey and Susan Sontag among others, to a broader audience.

Through NIRA, she also worked with Joseph Needham and the Needham Research Institute on the compilation of Science and Civilization in China.

During the late 1970s, she became very involved with both the improvised dance and freely improvised music movements.

Working with artists such as Min Tanaka and Tatsumi Hijikata in dance, and Derek Bailey, Cecil Taylor, Steve Lacy and Milford Graves in improvisational music, Kobata sought to help enable these movements to reach a greater audience, to connect with each other, and to collaborate and cross-over with other disciplines of art.

During her recent residency at Chelsea College of Art and Design in London, Kobata conducted further research and interviews into the roots of freely improvised music, the role of art students, young artists, and art schools in the supporting and rearing of this movement, and the continued way in which the lines between vari­ ous artistic disciplines are constantly being traversed.

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Professor Kazue Kobata

‘I was greatly pleased to be able to embark on this first faculty exchange between CCW and Tokyo National University of the Arts. The ideally situated campuses, the excellent atmosphere, and the astute help and logistical support from CCW enabled me to conduct research in an efficient and timely manner, and to make this an over­ whelmingly positive experience.

The conversations with the faculty, students and PhD candidates were very fruitful, especially in the context of meaning­ ful international exchange, and the constituency of the CCW Graduate school with researchers, faculty, visiting teachers, and students from not only the UK and Europe but also from a wide range of areas around the world, offers a cornucopia of presentations and lectures, and weekly major events, which are a great asset not just for students but for all concerned.

I was particularly excited to observe the new passion and enthusiasm for moving image and multimedia expression develop­ ing at the school. It invites a great sense of expectation for things to come.

CCW is undoubtedly a stimulating environment, and one which I hope to con­ tinue to be involved with, as we nurture the research and productivity of young artists for the future.’

Images from Professor Kazue Kobata’s lecture, ‘The Century and the Multitude’ at University of the Arts London, May 2012

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Thomas Joshua Cooper Visiting Artist

Looking North, the Arctic Ocean. Sea ice, 89° N., 2007–08

Thomas Joshua Cooper has been working on one ongoing artist’s project for the last 23 years. The project is called ‘The World’s Edge – The Atlantic Basin Project – An Atlas of Emptiness and Extremity’. He makes pictures of cardinal extremities, the farthest north, south, east and west of all the major conti­ nental landmasses and islands surrounding the entire Atlantic Ocean.

Inspired by early travellers, like St. Brandan, Ericsson and Magellan, Cooper (with deliberate slowness and respect), considers what is it to arrive at the ‘discovery’ of a place; simply by looking. He does not

take anything away other than a personal sense of place. This anti-imperialist stance is one of respect and appreciation for place and its inhabitants – that may, after all, actually offer up something about the current fragility of man in human time and space.

The last finished section of the epic project is the work that Cooper made over two years working in the Polar Regions between the North and South Poles. This section is called ‘True’.

In our contemporary age of the ‘instant’, Thomas Joshua Cooper, through extreme physical endeavour and the use of primitive

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Thomas Joshua Cooper

photographic equipment, journeyed to the Polar cardinal points. There he made pictures with a plate camera of the coldest, most uninhabitable territories in the world. Once home in Glasgow, Scotland, Cooper began the next part of his working process: printing by hand the pictures on his preferred photographic paper, now no longer manufac­ tured. These pictures depict, interpret and imagine the edges of the world, past civili­ zation itself.

The collective knowledge evidenced in Cooper’s polar pictures, in particular (and in his World’s Edge project overall), cannot be downloaded, or looked-up elsewhere. The knowledge is acquired, shared and passed on in the accumulation and experience of Cooper’s immense sea-picture atlas. What

compels Cooper is not a traditional career path or the possibility of financial reward.

Rather it is his integral instinct and desire, his need as an inquiring human being to find the edge, the boundary, the limit of human possibility – and to cross it.

Looking back, the Arctic Ocean. Sea ice, the North Pole, 90° N., 2007–08 Courtesy of the artist and Haunch of Venison gallery, London

25

Professor John Sturgeon Fulbright–University of the Arts London Scholar 2012–13 Professor John Sturgeon is an artist-poet, practising in digital media: video, installation and performance, with interests in teleperformative and streaming media collabora­ tions, as well as interactive forms. Since the early 1970s, Sturgeon has consistently utilized emerging forms of electronic media to articulate a quest for a spiritual persona.

His work questions the role of electronic media in the process of self-creation/discov­ ery and community formation, while creating a unique space for the contemplation of these issues. Collaborations, performances and installations continue to display concern for sociopolitical and environmental content. For over four decades, Sturgeon has screened and lectured about his work, exhibiting and broadcasting extensively both nationally and internationally. His artwork is represented in the collections of major museums worldwide. John Sturgeon’s history of major awards and fellowships include: a Guggenheim Fellowship, two Fulbright Scholar Abroad Fellowships and several NEA Individual Artists Fellowships and NEA Media grants, with continuing support from organizations internationally.

Sturgeon holds a BFA from the University of Illinois and an MFA from Cornell Univer­ sity. As an educator, Professor Sturgeon has been instrumental in designing and administrating innovative programmes for electronic/digital media, including Carnegie Mellon University, as well as co-founding the Masters programme in Integrated Electronic Arts at Rensselaer (iEAR at R.P.I., NY). Former department chair, John Sturgeon is currently Professor of Cinematic Arts, Department of Visual Arts, University of Maryland, Baltimore County.

Research planned for London is the production of a new video, which combines

Stills from Archivist. © 2010

26

Professor John Sturgeon

passions for spiritual connectedness through a sense of place, the root processes of the ‘archive’ and the development of representation/perception strategies, which countermand the tyranny of optics dictated by the pictorial replication of Renaissance perspective that reinforces a schism – of self from place. Overall structure develops in tandem with the sites and situations chosen for production – an improvisation with space.

What is offered by London is the opportunity to investigate evidence of the culture’s ancient Celtic (pagan) heritage meshed with the densely layered modern urban environ­ ment over the centuries. What is preserved: what is lost? My interest is in seeking vestiges of rituals that are still active, per­ haps percolating up as subconscious influences in daily life. I am focusing on the concept of the archive, memory as cultural/ historical overlay and as a form of urban ecology.

27

Professor David Leiwei Li Fulbright–University of the Arts London Distinguished Chair 2012–13

Under the Gaze of Churchill, photo from ‘Thames Town’, a Shanghai suburban development and a real-scale replica of two British villages, popular for wedding photo-shoots

Professor David Leiwei Li is a native son of Shanghai and a naturalized American.

He is Professor of English, and the Collins Professor of the Humanities at the University of Oregon. Besides scholarly articles, he is the author of Imagining the Nation: Asian American Literature and Cultural Consent (Stanford UP, 1998), the editor of Globalization and the Humanities (HK UP, 2004) and Asian-American Literature, a four volume, 2240 pages collection of criticism (Routledge, 2012).

Professor Li is excited at his appointment as Fulbright–University of the Arts London Distinguished Chair and by the prospect of working at CCW Graduate School and the Centre for Transnational Art, Identity and Nation (TrAIN). For his tenure, he plans to finish his ongoing monograph, Globalization on Speed: Economy, Emotion, and Ethics in Contemporary Chinese Cinema, and start

a collection of photoessays, tentatively entitled The Second Coming of Capitalism in China. Central to both is his persistent preoccupation with ‘culture’ and ‘capitalism’.

Li approaches ‘culture’ anthropologically, as a way of life emanating from the everyday; and aesthetically, as imaginative forms and creative expressions. He considers industrial ‘capitalism’ not only as a historical economic system originated from 18th-century Europe, which has since gone viral, but also a con­ stitutive cultural dynamic of transnational social practices today. Although China is the ostensible object of both projects, its miragelike development compressed in a span of three decades, what has taken Western Europe three centuries to accomplish poses fascinating questions for our inalienable world historical destiny. If China were to fulfill the full potential of limitless capital, surpassing its partial realization in the British

28

David Leiwei Li

empire of the 19th century and American empire of the 20th, would we indeed reach ‘the end of history’ in the 21st century, when the world is stripped bare – not by ‘locusts’, as Gandhi once metaphorically cautions against India’s development ‘in the manner of the West’ – but by a new species of homo economicus, beyond the conception of Adam Smith?

Reading exemplary films from Hong Kong, Taiwan and mainland China, Professor Li shows how Sino-phone cinema illuminates capital’s radical transformation of individual subject and society; and how the filmic media simultaneously discovers, recovers and imagines ways of countering capitalist corrosion. As this book’s argument was moving progressively towards the recupera­ tion of emotional and ethical resources against the time/space of creative destruc­ tion, he happened to visit ‘Shanghai EXPO 2010: Better City, Better Life’. The event prompted his critical coupling of capital’s economic logic with environmental devasta­ tion, and occasioned his new project, a series of photoessays which will challenge his skills both as an ethnographic photo­ grapher and a critic of culture. With an eye towards urban developments and renewals, the essays will analyse architectural practices and advance an eco-critical argument in favor of cultivating ‘the time/space of sustenance.’

Professor Li feels particularly privileged to be affiliated with CCW and TrAIN for their creative synergy within the University of the Arts London and for the scintillating setting of the city that promises unequalled intellectual exchange and imaginative nourishment. In addition to his focus on the completion of his projects, he also looks forward to disseminating his research find­ ings through lectures and actively engaging with colleagues and students alike in their shared interests in visual culture and humanistic inquiry.

29

Partnerships

30

Doctoral School, Academy of Fine Art, Budapest Since 2009, CCW Graduate School has been collaborating with the Doctoral School, Academy of Fine Art, Budapest, Hungary.

To date, the collaboration has resulted in a workshop trip of doctoral students to the Csepel industrial region of Budapest, which up until the late 1980s was the city’s industrial powerhouse, but has since experienced a period of decline and renewal; an exhibition entitled Csepel Works at the Labor Gallery in Budapest (images of the exhibition can be found at flickr.com/ photos/csepelproject); and a return visit of the Hungary team to Chelsea in July 2011, where the topic of focus was the history of Millbank as an institutional site. We are currently planning an exhibition and related events for 2012, which will explore and develop the interests stimulated during the July 2011 event.

The long-term 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.

Photos from the Csepel Works exhibition, Labor Gallery, Budapest, 2011

31

MISTRA Future Fashion

TED’s TEN cards in Stockholm with TED/MISTRA PhD student Clara Vuletich

MISTRA Future Fashion (MFF) is a research programme funded by the Swedish Government’s Foundation for Strategic Environmental Research. Its aim is to bring about significant change in the fashion industry leading to sustainable development within the industry and throughout wider society.

The scale of the project marked it as one of the most comprehensive studies of the market and business models within the fashion industry. Changes to key stages in the life cycle of a product – changes in the supply chain, to the design of clothing, the materials used, consumer behaviour, and the influence exerted by government are the

subject of multidisciplinary focus. The consortium structure integrates eight crossdisciplinary research projects, including natural, social and political sciences and design, creating a common research platform.

In March 2011, TED (Textiles Environment Design research group at CCW) began to address the question.

The research is 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.

Textile and fashion designers need to be trained to think and create using a full range of sustainable design concepts; they need to be able to combine complex technical methods together with new materials and processes, along with product design ideas that improve the use and disposal potential of the product. Embedding these design strategies into sophisticated professional training programmes within companies is now urgently needed: the programmes need to be both highly creative, encouraging new connected thinking that leads to sustainable design innovations, and enable companies to evaluate their design thinking, finding ways to make use of inno­ vative ideas both quickly and economically.

The first year focused on refining the TED’s TEN cards, workshop content and delivery techniques. Working with large companies and multinationals, like H&M and VF Corporation, illustrated to the team what limitations they have, but also what vast opportunities are within their reach.

Working with smaller companies through the Sustainable Fashion Academy (SFA) in Stockholm and Copenhagen highlighted a wealth of innovative ways in which small changes are able to drive bigger change.

Clara Vuletich is the MFF research student, and the ideas at the heart of her

32

MISTRA Future Fashion

project, Using human-centred sustainable design strategies to reconfigure waste as an asset in the fashion textile value chain, have already been tested this year through a commission for TED’s exhibition with the VF Corporation. The Design for Change bags and film demonstrate how designers can take the lead with denim manufacturers to close the loop on textile waste, whilst adding social innovation value to the work.

The project’s new website – www. textiletoolbox.com – is an open innovation platform where experts from academia and industry will together expand upon the ten strategies. This ‘sketchbook’ website allows for an ongoing research narrative to emerge. It is the key to developing themes and content for the next stage of the project – a report for Swedish sustainable textile designers (2013).

An online exhibition of prototypes and concepts is planned for 2014, and a final web platform and report in 2015 will offer the Swedish design community recommenda­ tions for sustainable making and action. www.mistrafuturefashion.com www.textiletoolbox.com www.loveandthrift.com/2012/06/designfor-change.html

TED’s TEN cards in: Copenhagen with CSB/MISTRA PhD student Kirsti Reitan Andersen

33

AHRC Artists’ Moving Image Research Network

Pratap Rughani and John Akomfrah OBE at the Landscape/Space/Ecology AHRC Seminar, 20 June 2012, London College of Communication

In response to the proliferation of the moving image in contemporary culture, the Arts and Humanities Research Council’s (AHRC) Artists’ Moving Image Research Network brought 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.

Since 1 October 2010, these debates have helped to shape the mission and establish the intellectual terrain of the related initiative, The Moving Image Review and Art Journal (MIRAJ), published by Intellect Books.

The Network was directed by Professor Catherine Elwes (CCW Graduate School) with co-investigator Pratap Rughani (LCC).

International participants included Anne Marie Duguet, Director of the Centre de Recherches d’Esthétique du Cinéma et des Arts Audiovisuels (CRECA) at Université Paris; Thomas Elsaesser, Professor Emeritus of Film and Television Studies at the University of Amsterdam, and David E. James from the University of Southern California. UK speakers and delegates were

joined by others from the USA, Canada, India, Holland, New Zealand, France, Germany, South America, Australia and Ireland. For further information, go to movingimagenetwork.co.uk Although the events were closed semi­ nars, in the final year of the Network, publicfacing screenings were included in the day’s events. The featured artists were Hito Steyerl (in conversation with Professor Stella Bruzzi) and John Akomfrah (in conversation with Pratap Rughani), and each event was wellattended by staff and students from UAL, as well as invited guests from a wider moving image constituency.

The project website has a healthy footfall and extracts from the first two seminars have been uploaded, with the third and fourth seminars in progress. The life of the website has been extended for another two years. The discussion board provides an open forum and there is information about the community of academics, curators and practitioners that have gathered under the Network’s umbrella.

In addition, the Network and MIRAJ have a busy Twitter and Facebook presence.

34

AHRC Artists’ Moving Image Research Network

Many of the papers presented at the Network have and will find their way into the pages of the journal, as will papers submitted by Network members. These include A.L. Rees, David E. James, Catherine Fowler, Steven Ball, Erika Balsom, Pryle Berhman, Duncan White, Maeve Connolly, Michael Chanan, Eu Jin Chua, Maria Walsh, Ken Wilder, Sean Cubitt, Nicky Hamlyn, Amrit Gangar and Julia Knight.

Members of CCW have participated in the seminars and UAL staff members, Pratap Rughani (LCC) and Catherine Elwes (CCW) presented papers, while William Raban (LCC), Steven Ball (CSM), Michael Asbury (CCW), David Curtis (CSM), Mark Lewis (CSM), Maria Walsh (CCW), Duncan White (CSM) and Lucy Reynolds (CSM) acted as respondents.

Many other UAL staff members attended as delegates and contributed to the discussions on the day, and a number of our PhD students were invited to attend the seminars with many more filling the public screenings.

The value of the Network has declared itself not simply in terms of the exchange of ideas, but in concrete outcomes and publi­ cations through MIRAJ. Many potential collaborations and ideas for future events have been generated, ensuring the lasting benefits of these events.

35

SHARE

Setting the Agenda in Europe for Research and Doctoral Programmes in the Arts In May 2012, the CCW Graduate School hosted the second annual SHARE conference.

Over two days of presentations, break-out groups, workshops and discussions, the conference brought together 122 researchers, educators, doctoral students, senior admin­ istrators, deans and rectors from 27 countries across Europe to think through the practical and theoretical challenges in developing doc­ toral-level education in creative art practices.

The CCW Graduate School has taken a leading role in the development of SHARE since its inception in 2011. SHARE (Stepchange in Higher Arts Research and Educa­ tion) is an EU-funded research network that aims to develop radically pragmatic thinking in arts and design research at doctoral level and beyond: www.sharenetwork.eu As a university, we greatly benefit from this affiliation. Although many of the key concepts of practice-based research in the arts originated in the UK, in continental Europe we can now see how grass roots development combined with policy initiatives have combined to create a decisive shift in intensifying research orientation in the arts in Higher Education.

The conference enabled us to witness a critical mass of new research-oriented platforms that have emerged on the conti­ nent; and how, from Romania to Sweden, a wide spectrum of cultures are creating rich and imaginative responses to the question of what constitutes meaningful research in the arts.

The conference was widely viewed as having been very successful and it is important to see it in the context of the wider mission of the SHARE network, and what this is bringing to the CCW Graduate School.

The wider mission of SHARE is to be a

catalyst for a major leap forward in the further development of research-oriented practice in the arts. The SHARE network aims to realize this core purpose through the systematic development of six distinctive work-packages, each of which investigates and reports on a particular theme relating to the project’s overarching goal of creating a ‘step change’. The work-packages are the responsibility of six groups of individuals drawn from the participating network of institutions.

The first work-package is Graduate Schools. As most members of the SHARE network have less formalized structures for their doctoral programmes, this workpackage is examining Graduate Schools as a sub-category along with National Fellow­ ship Programmes, Research Centres and similar initiatives already fully active in doctoral research in the arts. It offers a critical examination of these sub-networks and evaluates the arguments for expanding existing programmes and networks.

The second work-package, Starting New Programmes focuses on the early develop­ ment stage of an arts-oriented platform and investigates what is required to successfully complete the early stages of development.

Building on partnerships within previous Erasmus networks, it is developing new modes of collaboration and joint initiatives.

As a work-package, it works in close collab­ oration with the fifth work-package, the validation group, to produce adequate tools to support art schools/arts faculties in similar paths of development.

The third work-package is Artists + Researchers + Supervisors, a forum that brings together individual (or teams of) artist-researchers/doctoral students and supervisors from across Europe and from

36

SHARE

Klaus Jung moderated by Mick Wilson with Barbara Revelli watching over them.

Illustration by Eduardo Corte-Real, IADE, Lisbon (in The Smooth Blog of Travel Drawing)

Discussion group with Sandra Lange, Marc Monjou, Gertrude Sandqvist Illustration by Eduardo Corte-Real, IADE, Lisbon (in The Smooth Blog of Travel Drawing)

37

SHARE

schools in all stages of development.

It ensures that individual artists acting as supervisors have access to a wide range of expertise through a powerful academic network.

The fourth work-package is Advocacy which aims to raise the visibility and the level of recognition in Europe for research in the arts, in design, the visual and performing arts, and creative/digital media.

One important indicator for success will be the increase of the level of involvement in the seventh Framework Programme for Research and Development, Erasmus Mundus at masters and doctoral levels, as well as the increase of new national thirdcycle degrees/programmes under national funding schemes.

The fifth work-package is Validation, which focuses on the key issue of quality control and peer review. The Validation work­ ing group is developing a quality plan, and is concerned with internal quality control and peer review. It liaises with existing and new arts research journals/publications/databases in order to expand the options for artistresearchers to publish their research results.

It aims to ensure that the Academic Network outcomes are of the highest level of quality.

It hopes to achieve this ambition through a cumulative process of annual stocktaking reports and of organizing external evaluation.

It will seek to peer review and facilitate the mobility of PhD supervisors and will liaise with similar initiatives in other continents that strive for more and better international publishing opportunities for artists with PhDs. The working group will also produce a series of ‘Bologna’ working papers on types of degrees, quality criteria, research assessment, third level competencies, and staff/supervision qualifications, tailored to the needs of the institutions in different stages of development.

The final work-package, Dissemination, will focus on the conferences, symposia and a publication. It has developed a dis­

semination plan developing virtual and real relationships with educational arts institutions by communicating with teachers, professors, deans and researchers across Europe, and with all relevant national and European research and education bodies, and the creative sectors/industries.

Between 2012 and the end of 2013, the Graduate School will continue to participate in the SHARE project, whose outcomes will undoubtedly influence our own approach to integrating a research agenda on to a firm footing in our colleges, as well as influencing the wider sectors of both the arts and higher education.

38

Royal Melbourne Institute of Tech­nology (RMIT)

Drawing Out conference, 2012

As a part of CCW ‘s encouragement of international cooperative endeavours, The Centre For Drawing: Wimbledon has for the past three years been working to construct a cross-disciplinary drawing network based in the virtual space that exists between Melbourne and London. The Network’s focus has been on developing a better understanding of drawing as a crossdisciplinary subject, then through that understanding, engaging with curriculum development directed towards improving the curriculum on offer in drawing classes followed by undergraduate students in the sciences and in UK secondary schools.

The network is funded by an AHRC Network Grant awarded in 2011 to facilitate the development of a better understanding of the relationship between writing and drawing and drawing and general literacy.

The network is led by Simon Betts, Dean of Wimbledon College of Art, and Stephen Farthing RA, The Rootstein Hopkins Professor of Drawing. Farthing and Betts presented their interim findings as keynote speakers in November 2011 at Thinking through Drawing: Practice into Knowledge, a conference organized by The Department of Arts and Humanities at Teachers College, Columbia University, New York.

In April 2012, the second Drawing Out conference was held in London, in collab­ oration with The National Gallery. Speakers included artists: Michael Craig-Martin, Grayson Perry and Kelly Chorpening.

In addition, Georg Gartner, President of the International Cartographic Association from the Institute of Geoinformation and Cartography at Vienna University of Technology, spoke on ‘Emotional Mapping’ and Dr Janet McKenzie, Research Fellow at the University of Dundee, delivered a keynote speech on contemporary Australian drawing, ‘Drawing as Discovery’. Images can be found at: http://thecentrefordrawingual. wordpress.com.

In April 2013, RMIT will host The Centre for Drawing: Wimbledon at their third conference in Melbourne. The network will conclude this first stage of collaboration by publishing their findings during December 2013.

39

Victoria & Albert Museum (V&A)

View of The North Court showing the Circulation Department, V&A Museum’s offices and storage areas; V&A Museum, February 1956.

Image © Victoria and Albert Museum, London

In September 2009, Dr Linda Sandino, in association with CCW and the V&A, initiated the CCW/V&A oral history of curating at the Victoria & Albert Museum. As an historian of the applied arts and 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 she carried out 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 post-war 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 studying the history of museums, their collections, exhibitions, the impact of government strategies, as well as 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; 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 access to staff and researchers, as well as being disseminated through publi­ cations, V&A events and its Online Museum.

Future projects include ‘Artists work in museums: histories, interventions and sub­ jectivity’ (12–13 October, 2012), a conference co-convened by Dr Linda Sandino (CCW/ V&A) and Matilda Pye (V&A) at the V&A Sackler Centre in association with the Museums and Galleries History Group. This conference brings together artists, curators, historians and museum professionals to explore the history and impact of artists working as members of staff in museums, examining the diverse, often hidden ways in which museums and galleries function as environments of cultural and identity produc­ tion. The conference builds on the oral history research at the V&A, an institution formed by the contribution of artists and designers since it was established in the 19th century.

40

Tate Britain CCW Graduate School continues to strengthen and diversify its relationship with Tate Research. In 2011–12, CCW MRes students worked with Professor Nigel Llewellyn, Head of Research at Tate, his coinvestigator Dr Victoria Walsh and their PhD students on the Tate ‘Art School Educated’ project, funded by the Leverhulme Trust, which explores the impact of art pedagogy on artistic production and advances the understanding of the role that art schools have played in relation to broader educa­ tional, cultural and social realms.

Dr Michael Asbury, Reader in the TrAIN research centre at CCW, also contributed to this project with a presentation on art school cultures in Brazil at a seminar on international perspectives on art education.

Dr Asbury has also secured funds to work with Tate on an AHRC collaborative doctoral award on the subject of Pop Art in Latin America and chaired an event in February 2012 in which Chris Dercon, Director of Tate Modern, discussed the work of the artist Helio Oticica with the curator Guy Brett.

CCW researchers have also played a more direct role in Tate research projects; 2012 saw the publication of Dr David Dibosa’s contribution to Post-Critical Museology: Theory and Practice in the Art Museum, one of the outcomes of the AHRC-funded ‘Tate Encounters’ project, a collaboration between Tate Britain, London South Bank University and CCW Graduate School. Dr Dibosa took responsibility for leading the ‘Spectatorship and Visuality’ strand of this project, which involved the design and implemen­tation of interdisciplinary research methods, drawing on sociology, museology and art history.

He also set up and led focus groups, conducted interviews and acted as editorial advisor on ethnographic film outputs.

Also in 2012, a new AHRC-funded research network, ‘Transforming Artists’

Books’, was developed between CCW Graduate School and Tate to explore the book art collections at Chelsea and Tate in an international context. The workshops for this network, with prestigious international speakers, have been run at Tate, V&A and CCW in 2012. Earlier this year, Tate Britain created a commission for an artwork that would cover the building work to Tate Britain’s façade. The competition provided a fantastic opportunity and was won by Graphic Design Communication student Jessie May Peters with her winning design, ‘This is Britain’.

Jessie May Peters, This is Britain.

Photo: David Lambert, Tate Photography

41

Tokyo WonderSite

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

CCW has been working with Tokyo WonderSite for the last few years with over 30 BA and Masters students from across CCW visiting Tokyo WonderSite to participate in masterclasses and workshops. Tokyo WonderSite and CCW now host artist resi­ dency exchanges that include our lecturers and technical staff from CCW. Their Creatorin-Residence programme, run since 2006, provides a venue for creative practices and aims to foster international and intercultural dialogue.

2012–13 will see two further members of staff from CCW taking up a residency at Tokyo WonderSite, Nelson Crespo and Tim Johnson. Nelson Crespo is a visual artist investigating ideas around memory and accumulation. His work also reflects notions

of conceptual art and archive using media that includes photography, collage, installation, sound, archive and artist books.

Tim Johnson is a Senior Technician in Fine Art Painting at Wimbledon College of Art. He studied BA Painting at Wimbledon College of Art and MA Painting at Chelsea College of Art and Design, and has been involved in numerous group exhibitions both locally and internationally.

In return, we will be hosting two professional artists here in London, Ichiro Endo and Hiroshi Ashikaga. They will contribute to the creative life of the colleges and in particular, our Graduate School lecture programme. In addition, there will be an opportunity for 10 of CCW’s Masters students to be selected to attend a one-month resi­ dency workshop in Tokyo.

42

Cape Farewell

K. Beales, 2012

Cape Farewell is an artist-led charitable arts organization based In London that pioneers a cultural response to climate change. It works internationally, bringing artists, scientists and communicators together to stimulate the production of art informed by first-hand expeditions to the frontline of climate change and by providing access to scientific research projects. 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 need to address climate challenge.

The CCW Graduate School has been working in partnership with Cape Farewell for a number of years 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 sustain­ able future, and in so doing, promote the vital role that 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 annually in a common programme of talks, events and cross-disciplinary projects.

In 2011–12 one of our shared projects has been SHORTCOURSE/UK, created together by CCW, Cape Farewell, Liverpool

John Moore’s University, the University College Falmouth and involving the Univer­ sity of Southampton’s National Oceano­ graphy Centre, which considered the role of emerging artists and art students in designing and communicating a cultural shift towards ecological thinking and environment. SHORTCOURSE/UK will continue in 2012–13 in a revised format with similar levels of collaboration and engagement with local issues. It will continue to offer students a series of short, local, rural and urban expeditions framed around issues of ecology and environment, which will bring them into dialogue with scientists and leading scientific research to provide an opportunity for cross-disciplinary learning and to stimulate a creative response.

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 Professor Chris Wainwright, Pro Vice Chancellor of CCW, continues to be shown worldwide and is also planned to tour to Beijing and other venues in the Far East.

43

Postgraduate taught courses

44

Introduction to MA courses The taught postgraduate courses in CCW form an important aspect of the Graduate School. They are all located and delivered across all three colleges and represent the core disciplines of CCW. The Graduate School programme of lectures and events has been developed in close cooperation with MAÂ Course Directors and aims to bring the value of our research communities directly to bear on the experience of all of our MA students. Additionally, since the development of the Graduate School, there are now increased opportunities to establish cross-course links based around the four key thematic concerns of Social Engagement, Environment, Identities and Technologies.

Students from our taught postgraduate courses are also encouraged to participate in a wide range of dialogues and events along with research degree students, as well as benefiting directly from the experience and teaching contributions from our prominent professors, readers and research 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

45

MA Art Theory

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

—Dr David Dibosa, Course Leader The 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 makes practice the starting point for learning new analytical and interpretative 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.

Theory draws on textual, performance, poetic, philosophical, political and scientific approaches. You will become familiar with fundamental historical trends in art theory as well as key moments in art practice. It means being able 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 established practitioner keen to use theoretical reflection and exploration to enhance your practice.

It is just as likely that you’re someone with an emerging curiosity about art practice, art criticism, exhibitions, education, policy or curating.

The highlights We work closely with MA Curating, and draw on the resources of the three CCW Graduate School Colleges, including the libraries, archives and special collections, as well as the Chelsea and Peckham Space galleries. In addition, you learn ways of expanding the scope of your research to include a full range of theoretical and visual materials. We are keen for you to immerse yourself in London’s networks and encourage regular visits to archives, galleries, museums and fairs. Throughout the

course, you’ll meet potential collaborators and employers, as well as many leading practitioners.

The future Studying on the MA Art Theory course increases 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 theoretical production. You have the edge when applying for grants and residencies, and the course will certainly put you at an advantage if you’re interested in graduating to research-based projects, including further study at PhD level.

— — Location Chelsea Full time 1 year Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

46

MA Book Arts

Camberwell College of Arts 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.

—Susan Johanknecht, Course Leader The course Camberwell was the first college in the UK to offer specialist postgraduate study to students in the emerging field of book arts. Fuelled by advances in electronic information, media and online publishing, the book has been freed from its traditional role as a container of information. Ongoing debates about the cultural, individual and creative functions of the book underpin our course discussions. Your studies are complemented 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.

The highlights You will have the opportunity to get involved in artists’ book fairs and make visits to special collections, including those at the Tate, John Latham’s Flat Time House, and the National Art Library at the Victoria and Albert Museum. You will have the chance to explore the expanded book in a display or installation by showing your work in public exhibitions.

The future The skills and knowledge that you will develop on this course could lead you to follow in the footsteps of graduates who have begun 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.

— — Location Camberwell Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

47

MA Conservation Camberwell College of Arts

This course, building on 40 years of experience at Camberwell, teaches you specialist skills and knowledge, and prepares you to work within specific fields of the conservation world.

—Mark Sandy, Course Leader The course Conservators are skilled professionals who undertake a wide range of activities including developing preservation strategies, undertaking interventive conser­ vation of cultural artefacts, liaising with other museum professionals and being advocates for conservation to the wider community.

Camberwell’s two-year MA Conservation course will offer students the chance to focus on one of two pathways: MA Conservation: Art on Paper This path­ way focuses 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 covers the broad international and historical spectrum of bookbinding and book structures. Studio practice includes preservation management, as well as related conservation techniques and theory. The strong connections with industry partners and the Ligatus Research Centre at University of the Arts London supports your Personal and Professional Development (PPD).

This combination of pathways responds to developing industry requirements. The course features specialist taught elements for the two pathways running alongside a common taught lecture programme and key workshops. This allows for both the degree of specialization required in this subject and

opportunities for peer learning and an expanded critical discourse. The course culminates in the completion of an individual conservation project.

The highlights 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 may work with UAL archives, which provides the opportunity for a range of specialist projects and engage­ ment with issues involving the care and use of collections. Students have access to Camberwell’s resource centres alongside the specialist conservation studios and conser­ vation science laboratory.

The future Graduates can progress into employment within the conservation profession or funded internships. Our graduates are employed as conservators in many institutions, including the National Archives, the British Museum, the British Library, the Victoria and Albert Museum, the Bodleian Library and various county and regional archives.

— — Camberwell Location Full time 1 year Extended 2 years Apply to

CCW Graduate School Deadline

1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

48

MA Curating

Chelsea College of Art and Design Curating involves a radical rethink of the relationship between objects, people, places and ideas. On this course, we will support your development of the skills needed to meet this challenge. You will be invited to explore your own ideas by analysing a range of existing approaches as well as devising your own projects. As a result, you will generate curatorial work that strikes a balance between nuanced thinking and grounded practice.

—Dr David Dibosa, Course Leader The course This one-year Masters programme offers recent graduates and existing professionals the opportunity to develop and enhance their curatorial prac­ tice. The course proposes new approaches to curatorial practice through research, taught courses, workshops and project-based work. Core seminars explore the changing definitions of curating against a dynamic backdrop of institutions, social policies and technologies. Guest lectures offer an opportunity to meet some of the key figures in the contemporary art world (curators, artists and critics), and to explore the pioneering projects and ideas which guide and define today’s curatorial and artistic practices. During a series of workshops led by academic staff, you will acquire and refine your curatorial skill-set, including writing catalogue essays, preparing reviews and developing project proposals. You will be encouraged to engage in collaborative projects with your peers throughout the course. You will also enjoy access to gallery spaces and public programmes located within the three CCW Colleges.

The highlights After having completed your programme of study on MA Curating at Chelsea College, 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 programming. You will gain knowledge and

experience as well as the confidence needed to build up your portfolio as an independent curator.

The future Many of our graduates go on to work as curators, either independently or within an arts organization, gallery or museum. Others become exhibition organiz­ ers 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 prepare you for the next level in your career.

— — Location Chelsea Full time 1 year Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

49

MA Designer Maker Camberwell College of Arts

Making and learning are intertwined on this Camberwell MA. The wide range of works you create are underpinned by a programme of thought, discussion and lectures.

—Maiko Tsutsumi, Course Leader The course The contextual programme of the MA Designer Maker course enables you to engage with contemporary debate in the applied arts, design and object-based art. You will also explore the position of the makers within different cultures and con­ temporary 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 are 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, includ­ ing ceramics, furniture, jewellery design, metal­work and architecture. The course is aimed at practitioners with well-developed workshop skills, who are already used to getting hands on. You should 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 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 vary from batch prod­uctions to one-offs and limited editions.

The highlights You are exposed to an exciting round of tutorials, group critiques and discussions. Our series of lectures,

workshops and seminars feature many visiting practitioners, including designers, makers, artists and curators. In addition, you make visits to collections, makers’ studios, galleries and museums. Showing your work at public exhibitions and following a personal development programme ensures that you leave with your practical skills well-honed.

The future Our graduates go on to pursue diverse and interesting careers. These include as independent applied arts and design practitioners, creative industry professionals, curators, freelance designers, workshop leaders and teachers. Others go on to study at doctorate level.

— — Location Camberwell Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

50

MA Digital Arts

Camberwell College of Arts This course is an invitation to students to join a research project that is exploring and defining what art is in the digital age. You do this by being involved in a wide range of creative activities and opportunities.

—Jonathan Kearney, Course Leader The course MA Digital Arts concerns art that uses, engages with and is impacted by the digital. We do not define the digital environment in any narrow sense on this course; rather, we explore the breadth of this as yet undefined medium. Fine Art is traditionally painting, sculpture, printmaking and the performance arts. Digital Arts, however, make connections that were not previously possible they blur and break the boundaries between disciplines.

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.

The highlights Being part of the wider postgraduate community at Camberwell, with the opportunity to interact with other subjects, will significantly enrich your experience. It will also help to develop your research skills and offer enhanced opportu­ nities for career development. You are exposed to the shared visual arts lecture programme, featuring prominent guest speakers, as well as being able to draw upon the wide variety of research across the university. You enjoy opportunities to get involved in projects across the university and at other insti­tutions. Our MA Digital Arts students have worked on projects, seminars and symposiums with the Victoria and Albert Museum, the Institute of Contempo­ rary Arts, Peckham Space, FACT in Liverpool, Goldsmiths College, onedotzero and galleries from China to Brazil. Some of our students contributed to joint symposiums with the

University of Greenwich and Shanghai University. Several students have been awarded AHRC funding for their studies.

The future Our graduates have gone on to work as artists and creative practitioners in a variety of profes­sional settings.

Many former students progress to MPhil and PhD research.

— — Location Chelsea Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013

October 2013 Start date

51

MA Digital Arts Online You can be part of this exciting and innovative course online wherever you are in the world, taking advantage of a wide range of creative activities and opportunities.

—Jonathan Kearney, Course Leader The course This award-winning course follows the same ethos as the MA Digital Arts course pathway based in London. The single difference is that you study from wherever you are in the world. Students from countries across North and South America, Europe, the Middle East and Asia have studied on this course. Our focus is art that uses, engages with and is impacted by the digital. And our definition of the digital environment is far from narrow as we explore the breadth of this as yet undefined medium. Fine art is traditionally painting, sculpture, printmaking and performance arts. But digital technolo­ gies make connections that were not pre­ viously possible – they blur and break the boundaries between disciplines. We invite you to join a research project that is explor­ ing and defining what art is in a digital age.

The highlights You engage with the university through weekly chat sessions, which allow opportunities for collaborative presentations between the Camberwellbased and online MA Digital Arts courses.

We also encourage the use of blogs so that you can supply regular updates on your project progress. These form the basis of chat, tutorials and assessment. We also encourage staff and students to make use of 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 and face-to-face pathways add significantly to the richness of the course.

Exploring 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 online students around the world, completes the course.

The future Graduates go on to work as artists and creative practitioners in a variety of professional settings. Many progress to MPhil and PhD research.

— — Location Camberwell Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

52

MA Drawing

Wimbledon College of Art At Wimbledon, MA Drawing encourages an investigation of process, and an exploration of cross-disciplinary territories. This course interrogates drawing for a purpose.

—Michael Pavelka, Course Leader The course MA Drawing at Wimbledon is aimed at students from diverse practices who have a strong belief in drawing and want to explore the discipline as a means to an end or as an end in itself. It is a unique opportunity for you to interrogate and reorientate your practice through drawing as you focus on processes, techniques and cross-disciplinary dialogues that centre on communicating ideas to an audience, client or user. Divergent practice is the course’s starting point, and we stimulate connections and collaborations between different subjects and disciplines through drawing. These may include design, fine art, writing, architecture, the sciences, performance and dance. The course structure encourages you to develop external collaborations, placements or links, as you work directly with key art, design and drawing archives.

The highlights The course is project-led to begin with, and to support this process, you engage with a number of workshops led by a range of practitioners from across the CCW Graduate School and beyond. You are asked to lead a drawing workshop for your peers illuminating your own practice. During this part of the course, you critically test crossdisciplinary drawing and explore a range of media and materials through technical induc­ tions and instruction.

Forming a Research Folio as a live document records how critical practice talks, seminars and your own research make connections with your drawing practice.

We also make visits to professional or industrial organizations, galleries 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.

The future The MA Drawing course supports your practice with the skills, knowledge and cross-disciplinary understanding necessary to work as a creative individual in the profes­ sional world. It also acts as preparation for practice-led PhD study.

— — Location Wimbledon Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

53

MA Fine Art

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

—Brian Chalkley, Course Leader The course On the internationally renowned MA Fine Art at Chelsea, one of the longestrunning postgraduate fine art courses in the UK, we are committed to developing the dialogue across the whole spectrum of fine art practice. It is a distinct feature of this intensively taught course, which provides you with a valuable bridge between study and professional practice. You learn in a stimulating, challenging environment, in which we encourage you to generate dis­ course and re-evaluate practice with each other. You need to be committed to producing a high level of independent work, under­ pinned by a challenging theoretical curricu­ lum and instruction in approaches to research methodology. The course is aimed primarily 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.

The highlights Supported by a strong post­ graduate community, you are encouraged to re‑evaluate and contextualize your work by peers as well as your tutors. This enables 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 future Many students go on to set up their own studio practices, developing strong professional 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.

— — Location Chelsea Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013

October 2013 Start date

54

MFA Fine Art

Wimbledon College of Art The course offers an extraordinary opportunity to analyse your art practice in depth, over a two year period, and amend it accordingly, in preparation for your life as a professional artist. Our multidisciplinary teaching team will support your art practice across a range of Fine Art media including painting, sculpture, drawing, film and video, sited and relational practice, and performance or any combination thereof. Our aim is to create a world-class laboratory that fosters sustainability, experimentation and innovation.

—Edwina FitzPatrick, Course Leader The course The MFA Fine Art course at Wimbledon is centred around you claiming and owning your art practice through a sustained practical enquiry in tandem with contextual research. It is designed to support your resilience and adaptability as an emerging artist, through being able to experiment and develop your artwork over a two-year period. As art cannot be created in a vacuum, the course explores what we mean by context. This includes the inter­ national art world and the fine art discourses that this generates; where and how we produce our work; and how context might be understood through engagement with your audience or a site.

The highlights The course is specifically designed as a launch pad in terms of professional development and opportunities, through a tailor-made professional practice programme. This learning is then tested through on- and off-site projects. This means that you develop meaningful links with external agencies, which adds to your con­ textual and professional portfolio. As such, you submit a professional portfolio rather than an academic paper, which contextualizes and analyses your artwork across the different stages of the course. This course adopts innovative communication and problem solving methodologies that were developed in the professional art world, such as Pecha Kuchas, bar camps, posters events

and world cafés, and combines them with established teaching methods, such as 1:1 tutorials, group tutorials, themed seminars and reading groups. The course is taught by experts in painting, drawing, sculpture, installation, film and video, and sited art practice, as well as gallerists and curators.

The future The MFA Fine Art is committed to supporting you with the skills, knowledge and under­standing necessary to continue your creative practice as a professional artist, critic and writer, curator, artist’s assistant or arts professional working in education, archives or project management.

— — Location Wimbledon Extended Full time 2 year (30wks/year) Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

55

MA Graphic Design Communication

Chelsea College of Art and Design We encourage diverse design thinking and design practice, to help you shape engaging and imaginative interactions between materials, media, technologies and people.

—Sadhna Jain, Course Leader The course Different contexts and applica­ tions of Graphic Design Communication continue to permeate across culture, society, commerce and even science. We respond to this challenge by teaching you how to organize and use design thinking in highly individual ways. From this position, we encourage innovative thinking and experi­ mentation through the use and mix of specialist practical skills and techniques.

Tutors will help you to initiate frameworks for projects within which theoretical research and design practice are purposefully questioned and explored in relation to a theme, problem or proposition.

At the centre of this, you will learn how to develop your own rigorous design process, which will provide you with the means to employ critical thinking, shape materials and forms, generate and communicate content, develop prototypes and engage with audience testing. Our approach aims to deepen your understanding of the subject and issues of design whilst supporting you in building a personal and sustainable approach to your practice. We invite appli­ cants from a broad range of art, design and media technology-based practices who wish to make a significant contribution to exploring the contexts and definitions of Graphic Design Communication at Masters level.

The highlights Collaborative projects and workshops have included partnerships with the Design Museum, E4, Le Gun magazine,

Lizzie Finn (former editor of Frieze magazine), Wordsalad design group, digital media com­ pany, The Mill, and user behaviour/product designer, Dan Lockton.

Previous professional lecture series speakers include leading graphic designers, Nina Chakrabarti, Why Not Associates, Graphic Thought Facility and APFEL as well as award-winning video directors, Dawn Shadforth and Nick Goffey from Dom and Nick, musicians Add N to (X) and Cabaret Voltaire.

The future 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 advanced-level research.

— — Location Chelsea Full time 1 year Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

56

MA Illustration

Camberwell College of Arts 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.

—Janet Woolley, Course Leader The course Camberwell College of Arts has a long tradition of imaginative illustrative art, and MA Illustration builds on this strength.

Through a series of workshops, discussion groups and one-on-one tutorials, you develop a proposal for an ambitious, engaging project that will last the length of the course. It is a time to test out and implement your critical and practical skills, as well as to consider how your practice should develop and any new direc­tions you may choose to take.

Many of our students decide to participate in external ventures, competitions or exhi­ bitions and form their own discussion groups while on the course. Students on MA Illus­ tration also find that they benefit from interaction with other subjects. It will help you to build your research skills and offers enhanced opportunities for networking and career development. You will also be exposed to the shared lecture programme and crosscourse seminars which draw upon the richness of the research within the College and across the CCW Graduate School.

The highlights You will gain an insight into your personal artistic ambitions and build knowledge of professional practice on this course. This is helped by the discussions that you will have with visiting practitioners, as well as the rich artistic environment you will experience both within the College and across London. You have the chance for independent activities too, including trips to illustration conventions and The Bologna Book Fair. On MA Illustration, we also

encourage you to take part in group exhi­ bitions, competitions and commissions.

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

— — Location Camberwell Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

57

MA Interior and Spatial Design Chelsea College of Art and Design

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.

—Dr Ken Wilder, Course Leader The course We have a unique identity on MA Interior and Spatial Design, being part of an arts school tradition rather than being linked to an architectural school. We are internationally renowned for our culturally diverse course, and for encouraging experi­ mentation, along with the questioning of disciplinary boundaries and conventional definitions about what constitutes spatial practice. We are also committed to the notion of space-making as a design activity distinct from architecture. You address issues about how we inhabit space and develop sensi­ bilities about intervening in existing archi­ tectural 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.

The highlights The course offers the possibility to pursue two areas of concern: Research oriented Here, you develop your own research proposal, evolving projects that have a strong specialist agenda, or which question the boundaries between architecture, design and fine art.

Professional practice oriented 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 to engage with a wide cultural environment.

The future 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 architectural books, and made films and furniture. Others continue their studies at doctorate level.

— — Location Chelsea Full time 1 year Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

58

MA Printmaking

Camberwell College of Arts 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 careers.

—Finlay Taylor, Course Director The course Camberwell College of Arts is widely regarded as the place to study printmaking, and our teaching and work are internationally renowned. We explore printmaking not only as a medium in its own right, but in respect of 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. We 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.

The highlights You are 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 throughout London. In recent years, students have participated in symposiums at the V&A and talks with curators and international artists. In addition, each year we make visits to important print collections. Exploring 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 online students around the world, completes the course.

The future When you finish the MA Print­ making course, you have a wide range of creative career options open to you, for example as a practising artist and freelance designer, or perhaps in research. Recent graduates were selected for the International Northern Print Biennale in Newcastle, and showed work and won awards in the Post­ graduate Printmaking competition in London at Clifford Chance. Others exhibited at Compton Verney and had work purchased for the Victoria and Albert Museum collection.

— — Location Camberwell Full time 1 year Part time 2 years Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

59

MA Textile Design

Chelsea College of Art and Design The opportunities you encounter on this course are second to none. You inspire and are inspired as you explore creative approaches to sustainable design, supported by a unique and vibrant community of fellow students, teaching staff and visiting practitioners.

—Lorna Bircham, Course Leader The course On this studio-based, practiceled course, we expect you to show high levels of commitment and motivation, as well as confidence in your abilities. There are numerous opportunities for developing and collaborating on pioneering work within the textile industry, and your study is under­ pinned by a supportive theoretical frame­ work, as well as instruction in professional contemporary practice. A key course focus is concern and debate about the designer’s role in and responsibility for environmental issues. We encourage you to respond to the growing awareness of selecting raw materials, working out the impact of production and the ultimate life cycle of the product, especially concerning its disposal or reuse.

Throughout the course, you participate in and develop your skills through individual and group tutorials, workshops, online resources, and postgraduate talks designed to introduce you to a range of visiting artists, designers and other practitioners.

The highlights 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 is a resource that students, 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 con­ ferences in this growing area and report their findings to the College.

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

Another works on sustainable craft-design projects in India. You are likely to find oppor­ tunities in freelance design work or interior product design too. Our graduates are equally well placed to apply to undertake further research.

— — Location Chelsea Full time 1 year Apply to CCW Graduate School Deadline 1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

60

MA Visual Language of Performance Wimbledon College of Art

Visual Language of Performance engages in contemporary ideas, innovations and transformations, in the devising and development of cutting-edge performance practices.

—Douglas O’Connell, Course Leader The course This course offers an innovative environment, and a unique opportunity to define contemporary performance practice through investigating, incorporating and fusing a range of art practices. You will learn to work across conventional boundaries to gain a broader vision and experience of contemporary artistic practices. You will develop a critical awareness of the creative processes 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 realizing 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 also for lending a confident, informed and inventive perspec­ tive to any creative team.

The highlights The course is project-led and the curriculum is designed to support your individual practice and research through a series of self-initiated 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 networking tools, such as blogs, broadband streaming and mobile technology to forge

new connections, facilitate debates, share ideas, and network with a universal com­ munity of diverse practitioners. Our course tutors work in a range of art practices, and you receive not only their support but that of staff in a range of disciplines across the CCW Graduate School.

The future The MA Visual Language of Performance programme will prepare you for work as an independent creative artist in the increasingly interdisciplinary and inter­ cultural world of performance.

— — Wimbledon Location Full time 1 year Apply to

CCW Graduate School Deadline

1 July 2013 AHRC deadline 1 March 2013 Start date October 2013

61

MRes Arts Practice

Chelsea College of Art and Design This is a one-year course in which you will conduct an individual programme of art and design research within the CCW Graduate School —Dr Malcolm Quinn, Associate Dean of Research, CCW The course MRes Arts Practice offers you the chance to develop a major individual research project within the research environment of the CCW Graduate School, directed at further study at MPhil/PhD level.

The course is closely integrated with CCW research centres, and is run by professors and readers working in the CCW 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 MRes/PhD reading group. MRes Arts Practice provides a structured introduction to research in the fields of art and design for anyone wishing to progress to MPhil/PhD. It will suit those who may wish to enhance their research skills, or the research element of their practice.

The highlights Research skills developed throughout the course will provide graduates with expertise applicable to advanced prac­ tice and professional development within art and design fields. The course is designed to enable students to identify and familiarize themselves with a field of research in which they can work at doctoral level, and to provide them with key skills appropriate to doctoral research.

The future You may well go on to study for an MPhil/PhD after completing the course.

Or you may use your developed research skills to enhance your own practice, or use or apply them to the museum or gallery sectors or other art and design organizations and fields.

— — Location Full time Apply to Deadline AHRC deadline Start date

Chelsea 1 year CCW Graduate School 1 July 2013 1 March 2013 October 2013

62

How to Apply Entry requirements An Honours degree or equivalent academic/ professional qualifications.

MA applicants who do not have English as a first language must show proof of IELTS 6.5 (with a minimum of 5.5 in each skill), or equivalent, in English upon enrolment.

The university takes into consideration prior learning, alternative qualifications and experience.

Portfolio and statement of intent As well as your application form and supporting statement of intent, or research proposal, we may ask you to submit a portfolio of work (usually in CD or DVD format, or using Flickr). Applicants will be shortlisted at this stage against the entry requirements and selection criteria for the course. Some courses do not require a port­ folio submission – please see the website for details.

Application forms Download the application form by clicking the ‘Apply’ tab on the relevant course information page: www.chelsea.arts.ac.uk/ courses/coursesbylevel/ graduateschoolcourses/ Application deadlines If applying for AHRC funding (UK/EU Masters degree applicants only): 1 March 2013.

All other UK and EU applicants: 1 July 2013.

International: no official deadline but you are advised to apply as soon as possible.

Fees and funding Tuition fees Due to government funding changes, fees for 2013 entry may change significantly. Further information will be provided on the College and University websites when available: www.arts.ac.uk/ fees-funding

Please note that fees for 2013 have not yet been set. The fees below are for 2012 entry and are for guidance only.

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).

Arts and Humanities Research Council (AHRC) funding The AHRC has awarded the University a limited sum of money to fund studentships for MA and Research students in 2013. The specific subject areas are: Communications, Graphics and Photography; Conservation; Design; Film, Digital and Media Production; and Fine Art. Only students who applied to the course before the published deadline of 1 March 2013, who meet the eligibility and residence require­ ments, and have accepted their offer of a place, can be considered for these student­ ships. The arrangements for 2013 entry are not yet known, and will depend on the AHRC funding available. For further information, visit: www.ahrc.ac.uk or www.arts.ac.uk/ student/money Professional and career 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 Bursaries and scholarships The CCW Graduate School has a range of bursaries and scholarships, many specific to MA study areas, such as the Evelyn Williams Trust Scholarship, the Laura Ashley Scholarship,

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How to Apply

the Patrick Caulfield Scholarship, the BRC Nucleus Commission, the Patrick and Kelly Lynch Scholarship, and the Stanley Picker Charitable Trust Scholarship. The University also currently offers 100 Rectors Scholarships worth £5,000 each for Home/EU taught MA students. Prizes such as the Red Mansion, the Cass Prize 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 of how to apply, please go to: www.arts.ac.uk/fees-funding/funding

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Profile: Natasha Hoare Student MA Curating

Prospectus, Triangle Space Gallery, 2012.

The photo is Creative Commons Attribution, Share Alike license

Before joining MA Curating at Chelsea College of Art and Design, I worked as Press Officer and Business Development Manager at the Saatchi Gallery. I left this role in the hope that the MA would allow me to redirect my career away from communications and sponsorship towards curation. A look at curatorial job applications made it clear that an MA was essential. Apart from the pragmatic wish to be well qualified for curating jobs, I also sought to be introduced to a range of art theory, connected with a network of like-minded individuals who might be willing to co-curate independent exhib足itions, and to gain insight into contemporary modes of curation. Chelsea was a natural choice as the one-year course structure suited my economic position, and the proximity to MA fine artists was a draw. I have found it necessary to become a self-motivated researcher and practitioner,

and rapidly able to develop projects collaboratively. The latter ability was well tested during one of the highlights of the year, working with Professor Neil Cummings on Prospectus. This was an experimental exhibition, held in the Triangle Space at Chelsea, exploring radical forms of art edu足 cation and the exhibition itself as an educational technology. As the course nears completion, I have just commenced a maternity cover role at the studio of artist Shezad Dawood where I support the development of new film and performance works, and work as a freelance PR, art guide for Fox and Squirrel, and as an art writer for Nowness, Dazed Digital and Elephant Magazine.

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Profile: Gloria Zein Alumna MA Fine Art

Gloria Zein completed her MA Fine Art at Chelsea College in 2011. The same year, her sculpture TH.I.W.H. (This is What Happened) was co-winner of the Cass Prize for sculpture. Subsequently, she was commissioned to complete an art project for the 50th anniversary and reopening of the Goethe-Institut London in 2012.

Looking back, the MA Fine Art course started as an expedition with an impressive inter­ national group of complete strangers using a set of disparate maps. During eleven months, we collaboratively built our shared mental and physical space. At full speed, it was modified, enhanced and simultaneously taken apart by the students. By this means, the structure hummed and buzzed. Objects, paintings, films and performances tem­ porarily surfaced, grew and disappeared, generating moments of extreme density and concentration.

In the course of this enormous experiment, the group repeatedly split into small, unstable and yet extremely focused working units. It wasn’t always clear what exactly was going on, as everything was moved around, turned upside down and re‑evaluated. Everyone seemed ceaselessly in flux. Using bits and parts of the communal structure, each of us was busy forming an individual vehicle in order to set off after the year. I found the process extremely enriching and at times deliciously destabilizing.

We kept track with temporary installations and short reports, which retrospectively are useful snapshots. I’ve left the course with a great toolbox, and I am still discovering the many functions of its content. I haven’t learned what my work is all about, but how to discover what’s within – and how to keep the artistic process alive!

Gloria Zein, I can’t stop the dancing chicken, 2012, Goethe-Institut London.

Photo: Richard Bryant

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Research Degrees

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Research Study at CCW: MPhil/PhD. How to Apply Through the combined work of the many talented and dedicated professors, readers and researchers within our CCW Graduate School, we are able to offer an exciting and rigorous experience for our research degree students.

Our research activities are frequently grounded in the portfolio of art and design subjects represented by our taught Masters programmes. They offer new and challenging ways of thinking about how specific dis­ ciplines can share common concerns and questions. Issues surrounding the practice, theoretical and historical contexts of Fine Art, Design, Conservation and Theatre are developed and interrogated through a focused research approach of contemporary relevance. At MPhil and PhD level, we are particularly interested in research proposals that address individually, collectively or in tandem, the four current Graduate School themes of Social Engagement, Environment, Identities, and Technologies. The themes reflect a growing collective awareness amongst our research communities for identifying some of the more urgent social, political, economic and cultural agendas of our time and addressing them through innovative and creative responses. We are also interested in PhD research proposals relating to our growing work in the area of theatre, particularly the investigation and redefinition of the limits of performance, costume design and scenographic practice.

Entry requirements We consider a Masters degree in an appropriate subject to be particularly valuable in preparing candidates for a research degree. However, the mini­ mum 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 quali­ fications into consideration.

Proposal and portfolio With your application, we ask you to submit a research proposal following the guidelines in the application form. If your proposal is practice-based, you may also wish to submit a portfolio of work (usually in CD or DVD format).

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

Application form and application deadline www.arts.ac.uk/research/apply Deadline: 4 May 2013.

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

Addison, Gill: Fine art and expanded documentary practices.

Asbury, Michael: Art history and theory, and modernism and contemporary art in Brazil.

Baseman, Jordan: Fine art: practice, theory, history of video, film painting, sculpture, digital arts, drawing and sound.

Beech, David: Contemporary art practices and debates, the public sphere and politically engaged practices.

Chesher, Andrew: Fine art, documentary practice, avant-garde music, structures and practices.

Coldwell, Paul: Printmaking, sculpture, digital art, installation, memory and the work of Morandi.

Collins, Jane: Performance, identity, theatre design, scenography.

Cross, David: Fine art, context-specific sculptural installation and photography.

Cummings, Neil: Critical practice, contemporary creative practice, art and social process, critical practice and digital technology.

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.

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, and social and political activism.

Hogan, Eileen: Fine art, painting, portraits, book arts, archives, Jocelyn Herbert.

Ingham, Mark: Fine art, installation, photography, sculpture, moving image.

Johanknecht, Susan: Artists’ books, book art, contemporary poetics, small press publishing.

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’, relationship between performance and its documentation.

O’Brien, Tamiko: Fine art, sculpture, sitebased art practice and collaborative art practice.

O’Riley, Tim: Fine art, optical imaging, computer technology.

Osbourne, Richard: Philosophy and cultural studies, art theory.

Pickwoad, Nicholas: Book and library con­ servation, devising new techniques and methods to document material.

Politowicz, Kay: Development of textiles within interiors, textile design and pro­ duction with an environmental agenda, and addressing design problems.

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Current Research Degree Supervisors

Quinn, Malcolm: Critical practice.

Sandino, Linda: History and theory of the applied arts, the role of narrated life stories and identity formation of practitioners in creative industries.

Sandy, Mark: Haptic technologies within conservation training, properties of cellulose and paper in relation to deterioration and conservation.

Scrivener, Stephen: Collaborative design, computer mediated design, usercentred participatory design, practicebased 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.

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: Artist’s 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.

Wilder, Ken: Projective space, installation art, video sculpture, spatial practice, philosophy of art.

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Completed and Confirmed Research Degree Students 2011/12 Completed 2011–12

Confirmed 2011–12

Barker, Leon: Camberwell, Gestures in Machine Interaction (Geary, Angela).

Sullivan, Lawrence: Chelsea, Towards a Philosophy of Instant Rhythm and Generative Theory (Newman, Hayley).

Gravestock, Hannah: Surrey Drawing and Re‑drawing; Working with the Physicality of the Performing Body in Costume Design (Bugg, Rod).

Hewitt, Andy: Chelsea Socially Engaged Art Practices and Funding Agencies in Cul­ ture-led Regeneration (Cummings, Neil).

McPeake, Aaron: Chelsea Nibbling at Clouds – The Visual Artist Encounters Adventi­ tious Blindness (Newman, Hayley).

Vaz, Suzana: Chelsea The Archaic Makes the Avant-Garde. Experimental Practice and Primordial Image. Reading the Brazilian Post-Neoconcrete and the Japanese Gutai Artists through Mircea Eliade and Carl Gustav Jung. (Asbury, Michael).

Ravenberg (MPhil), Heather: Camberwell The Viability of a Data Model for General Use to Document Treatments in Book Conservation (Pickwoad, Nicholas).

Capkova, Helena: Chelsea Interpreting Japan: Central European Design and Archi­ tecture 1920–1940 (Watanabe, Toshio).

Pelling, Kate: Chelsea Editing Verbal Behaviour in Artists’ Direct Address to Camera (Newman, Hayley).

Reid, Imogen: Chelsea Between the Viewer and the Screen (Walsh, Maria).

Ricketts, Michael Chelsea (Post-)Concep­ tualism/Urbanism (Cummings, Neil).

Romero Ramirez, Martha: 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).

Sivaraman, Deepan: Wimbledon Spatial Identities and Visual Language in Indian Theatre (Collins, Jane).

Splawski, Piotr: Chelsea Japonisme in Poland (1885–1940) and Paradigm Shifts in Polish and American Art Education (Watanabe, Toshio).

Stylianou, Nicola: Chelsea Producing and Collecting for Imperial Britain: The African Textiles in the Victoria and Albert Museum 1850–1950 (Watanabe, Toshio).

Tremlett, Sarah: Chelsea ‘Maternal Philosophy: Can Text in Women’s Art be Considered New Philosophical Practice?’

(Throp, Mo).

True, Deborah: Wimbledon Located Narrative: An Interdisciplinary ‘Located Narrative Process’ that Explores and Develops the Methodology used to Inform Site-Specific Contemporary Practice (Quinn, Malcolm).

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Profile: Jennifer Ballie Current PhD Student

Prior to my PhD studies, I was working as a textile designer and had just completed a Masters in Design which combined inter­ action design and service design thinking.

I became very passionate about sustainability and was beginning to challenge the impact of the obsolescence of fashion through design interventions.

I was successfully awarded the Neal’s Yard scholarship through the Textile Futures Research Group (TFRC) to further my designled research into sustainability. This provided a unique opportunity to be supported by a cross-college team of supervisors from CSM, LCF and CCW. I was also given a dedicated work­space with Textiles Environment Design (TED), a research hub at Chelsea. This has been a wonderful learning experience and I have acquired new knowledge and experience by being immersed within this dynamic work environment. Becky Earley and Professor Kay Politowicz have allowed me to work alongside them on live research projects and have provided me with oppor­ tunities to further my own research through collaboration with industry, and events to deliver workshops or presentations.

I chose to study at PhD level to dedicate time to developing a deeper under­standing of the complexities that surround sustain­ ability within fashion and textiles. Having the opportunity to move to London and work alongside world-leading academics has provided an incredible opportunity to contribute to the field. I have approached this through social innovation and working collaboratively with design students, graduates, professional designers and the general public.

This intensive period of study has provided me with the space to stand still in my think­ ing and question my values as a designer.

Alongside developing a deeper under­ standing of my research area, I have also reflected on and learnt a lot about myself.

I have designed and delivered workshop packages for the Victoria and Albert Museum and Marks and Spencer, and I am in in the process of working on an interactive workshop for fashion retailer ASOS. A huge highlight was being presented the Branco Award for best paper and presentation at the European Academy of Design Conference, 2011. I have also had the opportunity to travel to Sweden, Denmark, Portugal and San Francisco to present work and meet other designers and academics.

Victoria and Albert Museum, Friday Night Late, August 2011.

DRESS UP/DOWNload Project

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Profile: Aaron Mcpeake

Completed PhD Student

Eileen’s Palette, 2007, Bell Bronze gong sculpture, 35 × 20 cm

Having been aware that doing a PhD can be a lonely and tortuous process, I set out to find a college, which had a diverse and vibrant culture of exchange and dialogue. At CCW, I found an ideal paradigm that included expert supervision, active research groups, excellent technical resources, administrators who had an acute understanding of the workings of the University and of course, many other engaged students. Compared to other institutions I had investigated, it sus­ piciously seemed too good to be true and when commencing the PhD programme, I set

out mindful that it might not all work out as well as I had hoped.

With hindsight, I consider my experience at the college as being ‘the time of my life.’

This is not to say that the University provided me with all my needs and wants intra­ venously, because they were very much harder to come by.

The College, its connections with other institutions and the numerous staff and students, make up a labyrinth of ‘individual libraries’ to draw from. With encouragement from my supervisors, my growing capacity

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Profile: Aaron Mcpeake

to mine these (re)sources was key to the successful completion of what was a complex, practice-based PhD project.

That such a complex and multi-faceted culture exists at all is remarkable, but it is one’s own diligence in exploring and mining what is available that demonstrates the difference between delight and difficulty.

However, on reflection, the learning that was pertinent to my research was eclipsed by all the other associated discoveries.

Film still from Traces of the World, 2007, running time: 27 min

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Profile: Dr Paul Ryan

Completed Postdoctoral Student

Paul Ryan, Unspeakable Library

I am an artist. My academic research is carried out through American semiotics; and especially focuses on drawing, the sketch­ book, ephemera and other ‘voices’; those which are still unplaced or ‘misplaced’ in fine art hierarchies. My PhD (AHRC-funded), was completed in 2009, and examined how sketchbooks mean what they do, and also developed an analytic research tool (called TAG) based on the system of signs established by C.S. Peirce. This has informed my teaching, and I am currently Acting Course Director on the MRes Arts Practice at CCW Graduate School. My practice extends to curating, including the recent exhibition What the Folk Say at Compton Verney; where artists including Sonia Boyce, Jeremy Deller, Susan Hiller and Mike Nelson repositioned folk art within the fine art galleries.

The art making is anchored in a con­ ceptual definition of drawing, where finishing and dogmatic statements are avoided; either in conventional sketching materials or new media and installation. For example, Mirror

Mirror, a video and performance collabora­ tion with Daniel Baker, was commissioned for the Roma Pavilion at the 54th Venice Biennale in 2011. Collaborations also include Epstein’s Liverpool, for Tate Liverpool in 2007 and Portrait of John Hough for the Pocket Tube Map with Jeremy Deller for Transport for London and at Frieze Art Fair 2011.

Souvenir is a postcard stand. It seeks to convey the moment of realization that we are akin to a tourist at an exhibition on war.

One card is ‘traced’ from a pre-war tourist postcard of the town of Auschwitz and shows a peacock with the town’s buildings as pictures set within the feathers. The second card is ‘redrawn’ from Stosberg’s (a Nazi architect) plan for the town hall for after the war. The last is of the artist’s drawing, Concentrate, that hangs nearby.

Through understanding how artworks mean what they do, artists can reflexively contribute to our understanding of how signification occurs (iconically). Knowledge in this form can augment and add to the

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Profile: Dr Paul Ryan

symbolic knowledge we associate with written forms of research. This also develops the agency of artists by making their positions of interpretation clearer to themselves so that they can then marshal signs more effectively in their art. These approaches can uncover ways to disturb and challenge existing hierarchies.

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Professors

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Paul Coldwell Professor

Biography Paul Coldwell is a practising artist and researcher. His art practice includes prints, book works, sculptures and installations. He has exhibited widely and his work is included in numerous public collections, including Tate, Victoria and Albert Museum (V&A), the British Museum and the Arts Council of England. He has curated a number of exhibitions, including Computers & Printmaking at Birmingham Museum and Art Galleries, Digital Responses at the V&A and most recently, Morandi’s Legacy; Influences On British Art at the Estorick Collection in London, accompanied 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 Contemporary Perspective (Black Dog Publishers) in 2010. He was appointed to the editorial board of the international journal Print Quarterly in 2009, has been on the advisory board for the journal Art in Print since 2011 and is an elected member of AICA. He is 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 statement My research is focused on a practice-based approach and located within fine art. Through printmaking, sculpture, installation and writing, I explore issues around absence and loss, with ideas crossing between media. A recurring ques­ tion for me is how new technologies impact on previous processes, in particular within printmaking; and how digital technologies can inform and rejuvenate older techno­ logies, such as etching and screen-print.

In addition, through my engagement with objects, I have been drawn to archives as starting points for sustained investigation.

Building on work made at the Freud Museum and Kettle’s Yard, I am currently using the archives at The Scott Polar Research Institute, Cambridge and the Royal Geographical Society to produce a new body of work taking Scott’s last journey as inspiration. www.paulcoldwell.org A recent output In 2010, my book Printmaking: A Contemporary Perspective was published by Black Dog Publishers. This book provided me with the opportunity to reflect on contemporary printmaking both from my position as a practitioner and as one who has increasingly been invited to write and lecture on related issues. It built upon not only my own studio practice, which will be the subject of a survey exhibition at Gallery 3, University of Kent (January 2013), but also on a research project, ‘ The Per­ sonalized Surface’ 2007–09, funded by the AHRC, which considered the relationship between surface and materiality in the light of new developments in digital printmaking.

My current concerns focus on the importance of printmaking as a prime expression of ideas rather than as a means of reproduction.

To develop this thinking, I have now con­ ducted two public conversations at the CCW Graduate School with leading cutting-edge printmakers Christiane Baumgartner and Thomas Kilpper. Both of these conversations have resulted in publications; the first in the online journal Art in Print (www.artinprint. org); and the second accepted by the peer review journal Print Quarterly, due for publi­ cation in 2013. In my keynote paper at the 7th Impact Conference at Monash University, Melbourne in September 2011, ‘Just What Is It that Makes An Artist’s Folio So Special, So Appealing, So Important?’, I developed these ideas to begin to consider the role of the folio and its importance as a site of inquiry.

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Paul Coldwell

Paul Coldwell, Lines and Branches (Blue), 2012, relief print from laser-cut woodblocks, 56 × 76 cm (published in association with the Centre for Fine Print Research, UWE).

— — Selected publications 2012 Big Prints for a Bigger World. Exhibition catalogue. International Centre of Graphic Arts. Ljubljana.

2012 ‘Matrix and Meaning: The Site-Specific Floor-Cuts of Thomas Kilpper’. Print Quarterly.

2011 ‘Christiane Baumgartner Between States’. Art in Print. www.artinprint.org

2011 Cartographies: Mapping Intersections and Counterpoints. Monash University, Melbourne.

2011 Viewfinder. Ruskin Gallery, Cambridge.

2011 IMPRINT 2011. Kulisiewicz International Graphic Arts Triennial, Warsaw.

2011 40 Artists – 80 Drawings. Burton Art Gallery and Museum, Bideford.

2011 Drawing: Interpretation/Translation.

Wimbledon Space, London.

Selected exhibitions 2012 Digital Aesthetics 3. Harris Museum, Preston.

2012 Kith & Kin II. National Glass Centre, Sunderland.

2012 The Mechanical Hand. Kings Place, London.

2012 SCOPE New Photographic Practices.

Tsinghua University Gallery, Beijing.

2012 Global Matrix III. Robert L. Ringel Gallery and the Stewart Center Gallery, Purdue University.

2011 Northern Print Biennial. Laing Gallery, Newcastle.

Peer esteem 2012 Invited Artist. Montclair University, New Jersey, USA. 2011 Keynote speaker. Impact 7 International Printmaking Conference, Melbourne, Australia.

2011 International jury. Imprint Kulisiewicz Graphics Arts Triennial, Warsaw.

2011 Peer review panel member Impact 7 printmaking conference. Melbourne, Australia.

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Jane Collins Professor

Romeo, Juliet and the Security Guard, Hyderabad, September 2011

Biography Jane Collins is Professor of Theatre and Performance at Wimbledon College of Art. She is a writer, director and theatre-maker who works all over the UK and internationally. She co-edited Theatre and Performance Design: a Reader in Scenography, published by Routledge in March 2010. This book, with over 52 texts, is the first of its kind in this field. In 2009, Collins restaged the award-winning Ten Thousand Several Doors for the Brighton International Festival and her essay on this production will be included in the forthcoming collection, Performing SiteSpecific: Politics, Place, Practice, to be published by Palgrave in 2012. She is a

founder member of (A) Performance Group, an interdisciplinary network of artists who run workshops and performance-related events across CCW. Research Statement My research locates theatre and performance within the wider discourse of arts practice. It uses scenography as a frame of reference and an analytical focus to consider the interrelated­ ness of all the elements that make up a performance and to (re) assess the role of ‘live’ performance in a social arena increasingly dominated by electronic and digital media. In my practice and my critical writing, I am engaged in making and

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Jane Collins

reflecting on performances that expand conventional notions of theatrical space and explore the potential of new psycho/spatial relations between actors and audience.

This has resulted in the production of new works as well unconventional readings of canonical texts.

A recent output Romeo, Juliet and the Security Guard is a site-specific promenade performance that explores space, place and displacement. Initially the outcome of a scenography workshop that I conducted with CCW PhD student Deepan Sivaraman and students from the Department of Theatre Arts, University of Hyderabad in September 2011, the work went on to be shown at the Bharat Rang Mahotsav, the biggest theatre festival in Asia, in New Delhi in January 2012.

‘A group of students try to perform Romeo and Juliet and make the audience look at it in a particular way. The security guard tries to maintain the institutional norms of viewing while constantly warding off intruding out­ siders … . In the end, the security guard takes over, opening up the story into a narrative of his own migrant existence on the margins of urban life.’(Programme notes, Rajiv Velicheti, Delhi, 2012). The work inverted the hegemony of the ‘colonial canon’ by subsuming the story of Romeo and Juliet into that of the local security guard whose history becomes the central focus of the narrative.

In One Place After Another, Site-specific Art and Locational Identity (MIT, 2004), Miwon Kwon argues that ‘the definition of site-specificity is being reconfigured to imply not the permanence and immobility of a work but its impermanence and transience’ (p.4). The way this work was developed in Hyderabad and reconfigured for the per­ formances in New Delhi was the subject of a paper delivered at the Performance Studies International Conference in Leeds, 2012.

In this paper, which I am developing into a longer article, I argue that the successful transferability of this ‘site-specific’ work was

due to its provisional and porous structure allowing the performers to ‘play’ with the contingent and the unexpected.

— — Selected publications 2012 Performing Site-Specific: Politics, Place, Practice. Birch, A. & Tompkins, J. (eds.).

New York: Palgrave.

2010 Co-editor, Theatre and Performance Design: a Reader in Scenography. London: Routledge.

Selected exhibition 2011 re:Searching: Playing in the Archive. ING Bank, London.

Selected conference presentations 2012 Performance Studies International, Leeds.

2011 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.

Selected performances 2012 Romeo, Juliet and the Security Guard.

Bharat Rang Mahotsav, National School of Drama, New Delhi 2010–11 Space and Light: Edward Gordon Craig Exhibition. Galerie Jaroslava Fragnera, Prague and V&A, London 2011 re:Searching: Playing in the Archive. ING Bank, London 2009 Ten Thousand Several Doors, Brighton International Festival.

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Neil Cummings Professor

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

I often work collaboratively with other artists, curators, academics, researchers or producers to create artworks, exhibitions and events from existing collections or contexts.

Each artwork or event finds an appropriate form, and these are as varied as creating exhibitions – 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 as part of the research cluster Critical Practice, convening partici­ patory events – Parade in the Rootstein Hopkins Parade Ground.

A Recent Output A recent project is Self Portrait; Arnolfini. I was commissioned

by Arnolfini in Bristol, as part of their 50th anniversary celebrations, to work on a project throughout 2011. I researched and decided to generate a series of self-portraits of the institution using information from their archive. Recalled from composite memory in 2061, three relational threads are intertwined; social and financial organization, technological innovation, and art and its institutions. Back to the Bristol Riots of 1831, Composite traces the struggle for real-time direct and deliberative democracy, loops of

financial market expansion and collapse, Transaction tax implementation, the extension of human rights to Organic Synthetic Assemblies, corporate museum expansion and implosion, self-replicating nano-manufactories, the launch of the Singularity Art Bond, dark-pool tax compli­ ance, the distribution of Arnolfini, the implementation of Radical transparency and the end of spectatorship, the foundation of the Multitude, various resource crises, the growth of the iCommons, brutal wars of attention, and much else besides. At the end of the project a beautiful book was published, designed in collaboration with Stephen Coates Currently I am interested in the political economy of creativity, and how art is instituted. While at Chelsea, I contribute to the research cluster Critical Practice. www.criticalpracticechelsea.org — — Selected Exhibitions and Projects 2011 Self Portrait; Arnolfini. Arnolfini, Bristol.

2010 Parade, Rootstein Hopkins Parade Ground, London.

2009–10 ArchivalProcess, Intermediae, Madrid.

2009 Lapdogs (part of Lapdogs of the Bourgeoisie). Arnolfini, Bristol and Townhouse Gallery, Cairo.

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Neil Cummings

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Catherine Elwes Professor

Biography Catherine Elwes co-curated two landmark feminist exhibitions, Women’s Images of Men and About Time (ICA, London, 1980). She specializes in video and installa­ tion exploring gender and identity. She has participated in many international festivals, her videotapes have been shown on Channel 4 as well as on Spanish, Canadian and French television networks, and her work is archived at LUXONLINE and REWIND. Elwes is the author of Video Loupe (KT Press, 2000) and Video Art – A Guided Tour (I.B. Tauris, 2005); and she has written for publications such as Filmwaves, Vertigo, Third Text, Contemporary Magazine, and Art Monthly. She is currently writing Installation and the Moving Image and Landscape and the Moving Image for Wallflower Press/ Columbia University Press. She intermittently curates programmes of artists’ film and

video, but she principally focuses on her editorship of the new moving image art journal MIRAJ (Intellect Books), supported by an AHRC Network.

Research statement My writing ranges from an interest in landscape and the moving image and installation, and the moving image, to issues of identity and gender, representations of war and warriors, as well as elaborations of the personal in moving image practices from a range of subject positions. Recent writing on landscape (forthcoming) attempts to account for the divergent approaches to imaging land between Aboriginal and non-Aboriginal artists in Australia and the role of the digital generation of images of nature in the politics of place within Australian moving image.

First House (1986), video installation, commissioned by Canterbury Fringe Festival.‘Domestic Spaces of Video Installation’.

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Catherine Elwes

A recent output In 2011, I published ‘The Domestic Spaces of Video Installation – Television, the Gallery and Online’ in Expanded Cinema: Film Art Performance (Tate Publishing). This puts forward the case for a domestic sphere of creative activity and explores the interaction between the domestic realm and video technologies – broadcast, gallery-based and online.

Beginning with early video art’s engagement with the ‘box’ of the television/monitor, the chapter traces artists’ rendering of the domestic as a social, political and physical domain. The argument is made that analogue video is an inherently spatial practice on a par with the physical/sculptural practices of expanded cinema. The discussion includes speculations on a gendered reading of the domestic and reflects on the blurring of dis­ tinctions between the private and the public arena in our mediatized, confessional culture.

— — Selected Publications 2012 Founding Editor, Moving Image Review and Art Journal. Intellect Books, Bristol.

2012 ‘Pipilotti Rist at the Hayward Gallery’.

Moving Image Review and Art Journal 1:2 review article.

2012 ‘Phases, Ruptures and Continuities’.

Moving Image Review and Art Journal 1:2 editorial.

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

2011 ‘Peter Callas: Optiks’. Moving Image Review and Art Journal 1:1, review article.

2011 Editorial. MIRAJ 1:1.

Selected exhibitions and projects 2012 AHRC Artists’ Moving Image Research Network.

2011 Sea Fever. Finis Terrae Festival.

Ouessant, Brittany.

2011 Introduction to Summer (1981) as part of the I Know Something About Love

exhibition. Parasol Unit, Foundation for Contemporary Art, London.

2011 Telling Tales Aboard Bluefin (2010), in Sea Fever, Finis Terrae Festival, France.

2011 Pam’s War (2008), as part of Figuring Landscapes, Melbourne Cinèmathéque.

2011 The Gunfighters (1985), as part of the Shadowboxing exhibition at Royal College of Art galleries.

2010 Kensington Gore (1981), as part of REWIND: Artists’ Video in the 70s and 80s.

Edinburgh Film Festival and the Camden Arts Centre, London.

2010 Kensington Gore. Tate Britain, London.

2010 Kensington Gore, shown as part of Polytechnic at Raven Row, London.

2010 Travelling Shots: Haiti (2010), One Minute Volume 4 tour of UK and Europe.

2010 Pam’s War (2009), screened at Melbourne Cinèmathéque, e-Merge Media Space in Townsville, Queensland and Mermaid Arts Centre in Bray, County Wicklow, Ireland.

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Stephen Farthing Professor

Drawing Drawn, a diagrammatic sketch for the second taxonomy of drawing, Stephen Farthing, 2012, pen and ink

Bibliography Stephen Farthing studied painting at St Martins School of Art and then the Royal College of Art. From 1990–2000, he was the Ruskin Master of Drawing at the University of Oxford; then from 2000–2004, he was the Director of the New York Academy of Art. He was elected a Royal Academician in 1998 and Honorary Curator of the Royal Academy in 2000. He is currently writing Living Color for Yale University Press with David Kastan and editing The Sketchbooks of Derek Jarman for Thames & Hudson.

Farthing is involved with a number of research projects with overseas institutions, which include RMIT and Monash University in Melbourne.

Research statement All of my 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. There is no strong separation between my activities as a painter and my work as a Professor of Drawing, one feeds the other; archival work on drawing informs my activities as a painter just as practical research projects in painting serve to inform my research in drawing. I am currently painting a series of works entitled the Miracle Paintings.

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A recent output For the past seven years, I have been engaged in constructing a definitive drawing of the bigger picture of drawing. I use the word ‘constructing’ because the thought process surrounding the making of that drawing focused on ‘joining together’ rather than simply pic­ turing the component parts of what I suspect was something that neither I nor anyone else had ever seen as one image before. For the most part, the project took place as a creative endeavour on a drawing board in my studio. It was, however, informed by examining the drawings that I discovered as a part of my normal round of life and occa­ sionally by more structured visits to archives.

The project was structured into three parts; Development, Structure and Application.

The Development took place during the period 2005–10 when I used drawing specu­ latively as a defining tool. The Structure was created during the period 2010–12 when I tracked a number of drawn images from the point of origin within the domain of twodimensional representation through to their emergence as drawings that were the product of one or other of the six Genera of drawing. Finally, the Application, was concluded in April 2012, where I recorded the journey of six sample drawings through the taxonomy and completed my drawing of drawing.

— — Selected publications 2012 The Good Drawing, (ed.). Bright Publications, London: CCW Graduate School.

2011 The Sketchbooks of Jocelyn Herbert, (series ed.). London: RA Publishing.

2010 Renaissance Art: Pop-Up Book. New York: Universe Publishing, Rizzoli.

2010 Art: the Whole Story, (Executive ed.).

London: Thames & Hudson.

2009 The Sketchbooks of Nicholas Grimshaw, (series ed.). London: RA Publishing.

Selected exhibitions 2010 The Back Story. Royal Academy of Arts, London.

2010 The Knowledge. The Drawing Gallery, Walford.

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

Appointments 2000– ongoing Chairman of the Sainsbury Scholarship in Drawing, awarded by the British School at Rome. Jointly nominated by the BSR and Linbury Trust.

2012 External Examiner, Glasgow School of Art, MPhil in Fine Art.

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David Garcia Professor

Biography David Garcia is Dean of CCW Graduate School. Before joining UAL, he spent approximately three decades in the Netherlands. 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.

In 2010 at Chelsea College of Art and Design, 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, the second phase of the development of the Tactical Media Files was launched, which included a blog and search function.

Research statement My research looks at the role of old and new media, and com­ munications in wider movements for social change. Its special focus is on the changing role of Tactical Media. The task for myself and fellow researchers and media activists is to address the charge that old or new media are of no significance in creating change, but rather foster the illusion of potency. My current research seeks to move beyond the binary of utopian vs dystopian models towards an analysis that identifies a number of key touchpoints where the realm of networked communications intersect (or not) with the realm of actual governance and decision making.

A recent output Tracing the Ephemeral: Tactical Media and the Lure of the Archive is a text co-written with Eric Kluitenberg on the occasion of the inauguration of the Tactical Media Files Blog, which was launched in June 2011. The text repositions ideas about the Tactical Media phenomenon and the relevance of the term today, as well as its inherent contradictions. We focus in particular on the aims of the Tactical Media Files as a documentation resource for the practices of tactical media, and the problems that this inevitably invites. http://blog. tacticalmediafiles.net/?p=175 — — Selected publications 2011 Tracing the Ephemeral: Tactical Media and the Lure of the Archive, co-written with Eric Kluitenberg. Nettime. www.nettime. org/Lists-Archives/nettime-l-1107/ msg00018.html Selected projects 2012 Tactics of Protest Now. Performing Arts Lab, Royal College of Art, http://redtape. rca.ac.uk 2012 Moving Forest Coda, CCW Graduate School. www.movingforest.net/html/coda. html 2011 The Tactical Media Files Blog and Search Engines. www.tacticalmediafiles.net 2011 ‘Take the Square’, a paper and workshop contribution to international public seminar on the new forms of protest and their media, centre for culture and politics in Amsterdam.

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The Tactical Media files blog and search engines. www.tacticalmediafiles.net

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Eileen Hogan Professor

Biography Eileen Hogan is a practising artist and researcher who has exhibited extensively in the UK and America. Her practice includes painting, book work and printmaking. Since 1980, she has been represented by and had regular solo shows at The Fine Art Society, London and her next solo exhibition in 2013 will be at Roche Court, East Winterslow. She is currently working on an AHRC-funded project, in collaboration with Tate Research, which brings together scholars from the fields of art history, museology, fine art, librarianship and digital technologies to identify key research areas in the overlooked realm of digital transformations of artist books.

She will co-curate a major exhibition at the Yale Center for British Art in 2014, which explores the natural world and book art.

Research statement My research 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. Recent research draws together the book arts collections at Chelsea College of Art and Design, Tate and the V&A in order to establish a common understanding of artist’s books and their place in the art school, the museum and the library; and to consider how shifts in the creation of artist’s books from the material into the digital realm might be harnessed and developed.

A recent output A Narrated Portrait 2008– 2011. This outcome, created for Transforming Artist Books, explores how the experience of creating a series of painted portraits would be affected by arranging sittings at which an oral historian simultaneously developed an

audio life-story recording. One of the ques­ tions that arose regarded how the diverse material could be presented coherently, which led to developing a screen-based work, A Narrated Portrait 2008–2011, made in collaboration with Armadillo Systems and the British Library’s National Life Story Collections.

Alongside sketchbook pages that are presented using ‘Turning The Pages’ and my paintings, I have incorporated extracts from the NLS recording – which is to some extent also the sitter’s ‘self-portrait’, her life told in her own words – and sections from a film made of one of the sittings by Ed Webb-Ingall. The recording was made between 2008–2011, and I attended 18 of the sessions, each about four hours long. I drew and made copious sketchbook notes and painted a study of the sitter’s head on each occasion. Making the portraits became as much about listening as looking. Hearing the sitter speak about her life, observing her expressions and inner energy, listening to nuances of her voice, to her laughter and to her occasional singing all contributed to the portraiture. The extended time span also meant that I witnessed and documented many small changes – new spectacle frames, different haircuts, seasonal clothes, and jewellery – and could capture varied moods.

The piece has been presented at workshops at the V&A and National Gallery, London.

— — Selected publications 2011 500 Portraits. National Portrait Gallery, London.

2009 Illustrated catalogue for Structured Elegance. Yale Center for British Art, USA and V&A, London.

Selected exhibitions 2013 Work made at Little Sparta 1997–2012.

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Eileen Hogan

Eileen Hogan, A Narrative Portrait 2012

New Art Centre, Roche Court, East Winterslow.

2012 BP Portrait Award. National Portrait Gallery, London. Tour: Scottish National Portrait Gallery, Edinburgh and Royal Albert Memorial Museum, Exeter.

2010 Structured Elegance. Yale Center for British Art, USA. 2009 Romilly Saumarez Smith: Bookbindings for Eileen Hogan. Victoria and Albert Museum Library, London.

2009 BP Portrait Award. National Portrait Gallery, London. Tour: Southampton City Art Gallery and Dean Gallery of the National Galleries of Scotland, Edinburgh.

Selected presentations, lectures and conference contributions 2011–12 Annual Jocelyn Herbert lectures.

Series Coordinator. Richard Eyre, 2010 and ULTZ, 2011. National Theatre, London.

2012 ‘Transforming Artist Books’. Third workshop in AHRC funded CCW / Tate

Research project, Victoria & Albert Museum, London.

2011 ‘Geographies of Collections: Archival Insights’. Conference presentation, Royal Geographical Society.

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

2010 ‘The Contemporary Thomas Lawrence’.

Inside Out festival, National Portrait Gallery, London.

Selected commissions and awards 2012 AHRC Digital Transformations Research Development Award. Transforming Artist Books with Tate Research.

2012 Olympic Artist: All England Lawn Tennis Club Wimbledon.

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

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Nicholas Pickwoad Professor

Biography Nicholas Pickwoad trained in bookbinding and book conservation with Roger Powell, and ran his own workshop from 1977—89. He has been an Advisor on book conservation to the National Trust since 1978. He was Chief Conservator in the Harvard University Library from 1992–95 and is now project leader of the St Catherine’s Monastery Library Project based at the University of the Arts London, where he is director of the Ligatus Research Centre, which is dedicated to the history of bookbinding. He lectures and teaches extensively on the history of European book­ binding in Europe and the USA.

to throw a spotlight for the first time in an international exhibition of this sort on the books that were actually used. The essay in the accompanying volume to the exhibition explains how such bindings, far from being all the same, as is often thought, are in fact remarkably diverse; and indicate not only the work of book­binders in different countries (even work­shops), but also work at varying levels of expense. Examples are described of books printed in one country, sewn together for a sale in another, and finally given their covers in Spain, or bought in Spain as bookblocks sewn by one bookbinder and then covered and decorated for their first owners by another thus presenting Research statement I am interested in the graphic evidence not only of the international history of bookbinding both as the history of nature of the book trade, but also of the a widely-practiced and very diverse crafts, value of detailed structural analyses to the but also, and more importantly, as a tool for better understanding of the histories of the better understanding of the history individual volumes. of the booktrade, the readership of books and — — the place of the book within society. The Selected Publications development of new tools for the better 2012 ‘The origins and development of recording of bindings in both their technical adhesive case bindings’ in Jaarboek voor and decorative aspects, central to which is Nederlandse boekgeschiedenis 19. the creation of a definitive thesaurus of terms 2012 ‘The structures and materials of in collaboration with specialists across commercial bookbindings in the Arcadian Europe, underpins all my work.

Library’, in Provenance and Bookbinding.

London: Arcadian Library.

A recent output ‘Books for Reading: Com­ 2012 ‘Books for Reading: Commercial mercial Bindings in Parchment and Paper Bindings in Parchment and Paper in the in the Era of the Handpress’, Great Bindings Era of the Handpress’, Great Bindings from from the Spanish Royal Collections: 15th – the Spanish Royal Collections: 15th – 21st 21st centuries, Madrid: Patrimonio Nacional centuries, pp.95–122. Madrid: Patrimonio & Ediciones El Viso, 2012, pp.95–122. The Nacional & Ediciones El Viso. invitation to curate a room of plain, com­ 2011 ‘Library or Museum? The Future of mercial bindings in an exhibition otherwise Rare Book Collections and its devoted to lavishly decorated bindings Consequences for Conservation and created for the ruling elites of Europe Access’, in New Approaches to Book and (‘Grandes encuader­naciones de las biblio­ Paper Conservation. Austria: Horn. tecas reales’, Real Biblioteca, Madrid, 25 May–2 September, 2012) gave an opportunity

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The left cover of the binding on a copy of Albertus de Saxonia, Quaestiones in Aristotelis libros de caelo et mundo. Ed.: Hieronymus Surianus, Venice: printed by Bonetus Locatellus, for Octavianus Scotus, 1492.

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Kay Politowicz Professor

Biography Kay Politowicz is Professor of Textile Design, co-founder of and Project Director for the Textiles Environment Design (TED) research group at Chelsea College of Art and Design, which develops strategies for designers to address the impact and life cycle of textile products on the environment.

Previously, as Course Director for BA Textile Design at Chelsea, she developed a course known for its high-level of achievement in specialist material processes, and for an environmental focus to curriculum developments within the subject.

In her current role, she connects the taught curriculum at BA and MA level with her research interests to develop opportunities for student participation in practice-based research projects.

Research statement My practice has evolved to a point where I now develop collaborative projects with design partners.

We propose and test theories of sustainability through the production of prototypes, which innovate design interventions in the life cycle of a product.

In the development of TED’s TEN strategies towards more sustainable design, I work with Rebecca Earley to explore the effect of the strategies in a variety of com­ mercial and industrial contexts. We work with retail design teams to apply the strategies to the fashion supply chain, and with individual designers to develop new products based on an index of principles of designing for sustainability.

A recent output I was recently invited to cocurate, with Rebecca Earley, the ‘Sustain­ ability/Responsible Living’ section of an in-house Corporate Summit exhibition for the US company Vanity Fair (VF) Corporation.

For the exhibition, titled Futurewear 2012, we

produced and commissioned prototypes to demonstrate interconnected design thinking to develop more sustainable fashion and apparel products.

The VF Corp worldwide textile and fashion brands including Timberland, Lee, Wrangler, The North Face, Vans, and Eastpack, were invited to consider product developments and range of sustainable approaches and possibilities that were in‑keeping and appropriate to their brand identity.

We selected exhibits from emerging designers and commissioned talented design graduates to demonstrate each of the Ted’s Ten strategies. The exhibits represented a range of approaches, designed to increase the lifespan of garments and their material properties, mindful of qualities of durability, repair and material recovery.

Within this range, I have become increasingly interested in the potential for design to affect an environmentally damaging ‘fast fashion’ throwaway culture, which is growing in size and speed throughout societies on a global basis.

My particular interest is in the production of material for garments that are designed to last an appropriately short amount of time for their intended purpose. For the Futurewear exhibition, I produced a paper-based exhibit entitled Once , demonstrating a ‘Short-Life’ concept, based on material developed in the paper industries for household and medical uses.

Once proposes new industrial alliances between the unrelated industries of fashion fabrics, paper manufacturing and recycling, as part of a closed-loop system of produc­ tion, disposal and recycling. I propose that emerging business interests, which are supporting new cellulosic fibre development, designed to replace cotton, could be attracted

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to the development of a new, aesthetic and practical, non-woven product for fashion or workwear.

— — Selected presentations and conference papers 2012 ‘Conducting artistic research in Industry’. Co-presenter, Share Conference, CCW Graduate School.

2011 ‘Strategies for Sustainable Design’.

Co-presenter, MIT Media Lab, Cambridge, Mass, USA. 2011 ‘Towards Sustainability in the Fashion and Textile Industry’. KEA (Copenhagen School of Design and Technology) and CRD (Center for Responsible Design) and Dansk.

Copenhagen.

Appointments 2012 Co-curator, VF Corp Summit ‘Futurewear’. Millennium Centre, WinstonSalem, NC, USA. 2011 Elected to Management Board of Texprint. Non-profit organisation promoting UK textile design graduates to industry internationally.

2011–15 Co-investigator (Project 3 in the Consortium) MISTRA Future Fashion. www.textiletoolbox.com a project funded

by The Foundation for Strategic Environ­ mental Research, Sweden www.tedresearch.net 2011 CCW: Creative Transition – ‘How do we make art schools resilient and sustainable in the current social, economic and ecological climate?’ www.tedresearch.net/ research/detail/creative-transition 2011 ‘Shared Strategies: Mapping the Territory’. Fashion Textiles Association Conference and foresight publication, Foresight Centre. Liverpool.

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

2010 Keynote Speaker: Prato textile Museum, Italy. Conference: Making The Future Materialise – From Training to Industry.

Eurotex ID Final Conference, heritage@ work, Museo del Tessuto, Prato, Italy.

Academic contributions 2010–13 External Examiner. MA Textile Design. Royal College of Art. 2011–15 Guest Professor, Konstfack University College of Art, Craft and Design, Stockholm, Sweden.

Once: This short-life product addresses the environ­mental impact associated with continuous laundering. From Futurewear exhibition, VF Corp. 2012 Designers: Kay Politowicz and Sandy MacLennan 2012

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Stephen A.R. Scrivener Professor

career, he has completed funded research projects; produced over 175 research outcomes; supervised more than 30 research degree students to completion and examined over 40. Scrivener has participated in the research context in a range of functions; he is the founding editor of the International Journal of Co-Design, published by Taylor and Francis, and is an elected fellow of the Design Research Society.

Arlo’s Castle

Biography Professor Stephen Scrivener studied Fine Art at undergraduate and masters levels, the latter at the Slade School of Fine Art, University College London, where he began to use the computer as a means of art production. Subsequent to the Slade, Scrivener completed his PhD in a computer science department and, thereafter, worked as a lecturer and researcher in various university computer science departments.

Up to 1992, his research focused on the design and development of interactive systems for artists and designers and on how such systems are used. During this period, he undertook many funded designfocused research projects (supported by grants in excess of £2 million) almost all of which involved academic, commercial and industrial collaboration. During his research

Research statement Since 1992, when I returned to the art and design academy, my primary research has been concerned with the theory and practice of practice-based research and I have reported the outcomes of this inquiry in a series of journal papers and book chapters. My thinking on this topic progresses from the proposition that the activities of art, design, etc. already contain the activity of research, understood as that function that expands each field’s potential and relevance. I have now begun to produce artworks as a means of complementing what has been a theoretical inquiry.

A recent output We had already constructed a house and Arlo had carefully placed it in his toy buggy and walked it down to the café where we now had dispersed in front of us, on the metal table, the remainder of his Lego pieces. There was no plan, no requirements, and no needs. The fort emerged as one idea followed upon another: in the recollection of fort features; in solving problems inherent in earlier decisions in making it more fort-like; and in using up the resources at hand (see image – top QR code). Arlo’s fort has a certain originality and unexpectedness, in the sense that it was not pre-envisaged, but it is not surprising: it does not make us question our existing knowledge of things or drive us to search for new concepts to contain and

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exhaust the surprising element. In projective artistic design making and thinking… (see image – bottom QR code), my co-author and I describe two modes of material production that can be understood as generative of new knowledge and understanding: problemsolving and (what we are calling for the moment) creative production. Our primary focus in the paper is on the latter, which we argue prioritizes the creation of positive surprising material conditions. This means that understanding the surprising artefact can only begin after the fact of surprise, in contrast to problem-solving (as described in our paper) where artefacts are pre-conceived and pre-understood. We speculate that creative production requires strategies that loosen the relation between making and prior knowledge, habit, and observed problem.

So, to finish where we began, play, such as in the making of Arlo’s fort, might be one kind of human activity where, in the making of a thing, the desired uncoupling of relations between the already thought and presently made is sometimes achieved.

— — Selected publications 2012 ‘Projective artistic design making and thinking: the artification of design research’. Contemporary Aesthetics, Special Volume 4. www.contempaesthetics. org/newvolume/pages/article. php?articleID=638 2011 ‘Part 1: Reflections on interactive art and practitioner research: establishing a frame’.

Research and the Creative Practitioner.

Faringdon, Oxfordshire: Libri Publishing.

2011 ‘Part 2: Reflections on interactive art and practitioner research: interpretation’.

Research and the Creative Practitioner.

Faringdon, Oxfordshire: Libri Publishing.

2010 ‘Transformational practice: on the place of material novelty in artistic change’.

The Routledge Companion to Research in the Arts. Oxford: Routledge.

2010 ‘Triangulating artworlds: gallery, new media and academy’. Art Practice in a

digital Culture. Aldershot: Ashgate Publishing Ltd. 2010 ‘The roles of art and design process and object in research’. Reflections and Connections: On the Relationship Between Creative Production and Academic Research [e-book]. University of Art and Design Helsinki.

2009 ‘Connections: A personal history of computer art making from 1971 to 1981’.

White Heat Cold Logic: British Computer Art 1960–1980. Massachusetts, USA and London: MIT Press.

Selected exhibitions 2011 Csepel Works. Labor Gallery, Budapest.

Peer esteem and appointments 2011 International Expert, Research Assessment Exercise, Romania.

2010 Referee for practice-based research grant proposals for the Austrian Research Council.

2009 Referee for practice-based research grant proposals for the Danish Research Council.

2009 Panel B Chair, AHRC. 2009 Research Committee Member, Kunsthogskolen: Bergen National Academy of the Arts.

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

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Chris Wainwright Professor

Biography Professor Chris Wainwright is Pro Vice-Chancellor and Head of Camberwell, Chelsea and Wimbledon Colleges. He is also Past President of The European League of Institutes of the Arts (ELIA), an organization representing over 350 European Higher Arts Institutions. He is currently a member of The Tate Britain Council and Chair of the Board of Trustees of Cape Farewell, an artistrun organization that promotes a cultural response to climate change.

Chris Wainwright is also an active professional artist and curator working in photography and video whose current exhibitions and projects include: Futureland Now, at the Laing Art Gallery in Newcastle; A Catalogue of Errors, a solo show at The Diawa Foundation in London in 2013; 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 Collec­ tion. He is currently co-curating Unfold, a Cape Farewell international touring exhi­ bition of work by artists addressing climate change.

Chris Wainwright’s photographic work is held in many major collections, including the Victoria and Albert Museum, London; The Arts Council of England; Bibliotheque Nationale, Paris; the Polaroid Corporation, Boston, USA; and Unilever, London.

Research statement I work primarily through photography and video as a means of addressing issues related to the effects of light, both natural and artificial, in urban and remote environments. The work is informed

by a direct response to place and is often the result of an intervention, a temporary action or construction made for the camera as a unique form of witness for recording light. I am interested in the cause-and-effect relationship between urban and unpopulated spaces, and the way light is deployed as a form of illumination, communication, invasion and pollution. Overall, I have a concern for representing the issues and effects of environmental change though my direct presence, actions and journeys, always undertaken in darkness, and the way this can be part of a strategy of imagemaking that does not rely on journalistic or didactic approaches but has its roots more in the pictorial traditions of painting.

A recent output In 1988, I was commis­ sioned by The Laing Art Gallery along with fellow artist John Kippin, to make a series of images in and around the North East of England, an area going through major industrial, economic and social change as a direct result of the then Tory government’s industrial and regional policies. The resulting exhibition, Futureland, became a major touring exhibition in 1989.

In 2010, John and I proposed to The Laing Art Gallery to create Futureland Now as a follow-up project, which has now resulted in a major exhibition and publication, both of which reference the original Futureland work, a selected body of intermediate work spanning a 20-year period and a series of new works specifically created over the last two years. The interim period between the two exhibitions has seen some changes take place in the region with a small number of high-profile cultural, leisure, consumer and industrial developments. These are, however set against a dominant and persistent

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Teeside Error, from Futureland Now, digital print, 2012

condition of a post-industrial landscape characterized by economic stagnation, suffering from a lack of structural investment, high unemployment, and an increasing sense of alienation from the south. To a large extent, little has changed in the 23 years between the two shows as the region yet again adjusts to the unfavourable policies of the current government, but this time with a much greater fear about the more pressing issues and about the deeply embedded world economic downturn, and the inevitable impending effects of climate change.

The exhibition runs at the Laing Art Gal­ lery from September 2012 to January 2013, with a major publication including essays by Liz Wells, Mike Crang and an extensive interview with John Kippin and myself.

— — Selected publications 2012 Bright 9: Expedition. (ed.). Bright Series.

London: CCW. 2011 In Light. Monograph publication.

Amsterdam: Castrum Peregrini.

2010 Unfold. Co-editor with David Buckland.

London: Cape Farewell.

Selected exhibitions 2012 Futureland Now. Laing Art Gallery, Newcastle upon Tyne.

2012 Art and Science. Artist and guest curator, National Museum of Science and Technology, Beijing, China.

2011 What Has To Be Done. Photo/ performance, Aldeburgh Arts 2011, Aldeburgh, UK. 2010 Rise. Site-specific video installation, commissioned work for 1300-year anniversary of Nara Heijo-kyo Capital Nara, Japan.

Selected projects 2010 Unfold. Cape Farewell exhibition on climate change, Co-curator, worldwide touring exhibition (including Vienna, London, Chicago, New York, Beijing).

Selected appointments and memberships 2009–12 Chair of Trustees, Cape Farewell.

2008–12 Member, Tate Britain Council.

2009–11 Jury Member for Global Design Cities Organization, Seoul, South Korea.

2008–10 President, The European League of Institutes of the Arts (ELIA).

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Toshio Watanabe Professor

Queen Lili’uokalani Garden, Hilo, Hawai’i

Biography Toshio Watanabe studied at the Universities of Sophia, Tokyo, the Courtauld Institute of Art, London and in Basel, where he completed his PhD. He taught at the City of Birmingham Polytechnic, where he ran the MA in History of Art and Design course.

Toshio has worked at Chelsea College of Art and Design since 1986, initially as the Head of Art History and later as Head of Research.

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

Research statement The main focus of my research is trans­ national interactions of art with an emphasis on the issues of modernity and identity.

I am particularly interested in exploring this, not just in bilateral, but in multilateral relationships, such as those between Japan, China, Taiwan, India, Britain or the USA within the time span between 1850—1950.

My interest in transnational relationships covers all media, but particularly architecture, garden design, watercolour painting, photography and popular graphics. Particular emphasis is put on the consumption of these art forms locally and globally.

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A recent output 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.

I was Principal Investigator for the AHRC-funded research project Forgotten Japonisme: Taste for Japanese Art in Britain and the USA, 1920s–1950s, which began in 2004 and ended in 2010. This project, with international researchers from Japan, USA and the UK considered, among other questions, the received view of the West as the sole purveyor of modernity in art, Japanese inspiration within the development of modernism in the West, and the rela­ tionship between the taste for Chinese and Japanese art during this period. The boundaries of the notions of the West and also of Japonisme were tested.

This project has broken new ground in establishing that the taste for Japanese art indeed continued throughout the period more or less without a break even during the war period. However, it has also shown that the taste for Japanese art is not mono­ lithic but varied and multifaceted. It also questioned and pushed hard at the definition of the term ‘Japonisme’, which is derived from the conditions of 19th-century France.

A new term ‘Transwar Japanism’ is proposed by not only recognizing a coherent periodi­ zation through adopting the term ‘Transwar’, but also by giving geographical agency to the bearers of the taste through calling it ‘Japanism’.

— — Selected publications 2012 ‘Modern Japanese Garden’, in: Thomas Rimer (ed.) Since Meiji: Perspectives on the Japanese Visual Arts, 1868–2000.

Honolulu: University of Hawai’i Press.

2012 ‘Forgotten Japonisme’, in: Pilar Cabanas Moreno and Ana Trujillo Dennis (ed.)

La creación artística como puente entre

Oriente y Occidente. Madrid: Grupo de Investigación Completense Arte de Asia, Grupo de Investigación ASIA. 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 and Anja Eisenbeiss (eds), The Power of Things and the Flow of CulturalTransformations. 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, Tokyo: Mori Museum of Art.

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Readers

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Michael Asbury Reader

Biography Dr Michael Asbury is Reader in the History and Theory of Art and a core member of the research centre for Trans­ national Art, Identity and Nation (TrAIN).

He concluded his PhD on the work of Helio Oiticica at UAL in 2003 and has since become an internationally recognized specialist in modern and contemporary art from Brazil.

He has published extensively and has curated numerous exhibitions in the UK, Europe and Latin America.

Research statement The geopolitical expansion of the canons of art beyond the traditional hegemonic Euro-American axis – a fact corroborated by the proliferation of international biennials and art fairs, as well as by 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.

A recent output My method regarding the recent AHRC-funded Meeting Margins project, as well as several other related research outputs, approaches the art from Brazil not as necessarily different, whether through its process or its ‘accent’, but through a historiographical approach, that identifies points of convergence, coin­ cidences, whether conceptual or aesthetic.

It is in order to avoid the impasse posed by differentiation on the one hand, and the pitfall of derivation on the other hand,

Anna Maria Maiolino O Que Sobra (What is Left), from the series ‘Fotopoemação’ (Photopoemaction), 1974, Black and White analogical photographs, 28.5 × 40 cm (each). Photo: Max Nauenberg

that I choose to investigate how the proximities that art and art criticism from distinct regions occurred. The point of departure therefore is not necessarily art itself, as this would suggest sameness.

Instead I choose to investigate art through the absorption of ideas emergent from a variety of other disciplines. Of course, the art produced in distinct regions is different due to the specific conditions of production, which are themselves determined by geopolitical relations, national and regional

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cultural specificities, and so forth. These factors are a given, but to dwell too much on them only reduces the analysis of art to this sphere of relations. So, given all these factors and acknowledging their significance, I investigate how aesthetic and conceptual proximities between Latin American and European art escape direct or pure artistic derivation. It is my contention that these problems relating to contemporary art emerged, particularly between the contexts of Latin America and Europe, in the wake of the second world war, that great and brutal world leveller from which so many independence struggles emerged, when the European colonial project gave way to a new world order divided between ideological blocks (making both Western European and Latin American contexts to varying extents marginal) and perhaps more importantly than all, when humanity through science and tech­ nology saw itself terrifyingly as well as arro­ gantly holding its destiny in its own hands.

— — Selected publications 2013 Ibere Camargo: carreteis. Fundação Ibere Camargo, Porto Alegre.

2012 Miguel Palma: Man, Machine and Motion: Night, Night, Mr Tenjag. Mead Gallery Warwick Arts Centre, Coventry.

2012 ‘Antonio Manuel: the radicalism of a cordial man’, in: I don’t want to represent – I want to act. The Americas Society, New York.

2012 ‘Franz Weissmann: Mitos Vazios’, in catalogue for Franz Weissmann: a síntese e a lírica construtiva.

2012 Catalogue for Centro de Arte Hélio Oiticica, Rio de Janeiro.

2012 ‘The Uroborus Effect: Brazilian Contemporary Art as Self-Consuming’, Third Text, v.26, issue 1.

2011 ‘Antonio Manuel: Occupations / Discoveries’, in Vaz-Pinheiro, G. (ed.)

(Dis)locations: exile, topology, relocation.

Porto: FBAUP. 2011 ‘Miguel Palma’s State of the Art’, in

catalogue for Miguel Palma: Assembly Line, Fundação Caloste.

2011 Catalogue for Gulbenkian Foundation, Lisbon.

2011 ‘The Popularization of Scientific Thought’, in Dossier Meeting Margins.

Concinnitas Journal, Instituto de Artes, Universidade Estadual do Rio de Janeiro (UERJ).

Selected papers 2012 ‘Concrete-Neo-Concrete: Revisionism and Historiography within the Brazilian Constructivist Avant-Gardes, Constructivism and Beyond – Brazilian Art in the 1950s and 1960s’, Kunsthistorisches Institut, Freie Universität Berlin.

2012 ‘Hélio Oiticica: What I do is Music’, America Latina, extranjeria y la pertenecia cultural. Artes visuals y música en los anos sesenta. Session 391, Latin American.

Studies Association annual congress, San Francisco.

2012 ‘Brazilian Contemporary Art as SelfConsuming, History without Past: CounterImages of Coloniality Spain/Latin America’.

Centro 2 de May. Madrid.

2012 ‘Franz Weissmann between concrete and neoconcrete’. Centro Hélio Oiticica, Rio de Janeiro.

2011 ‘Science and Sensibility’, Tate Modern, London.

Editorships 2011 Editor, Dossier Meeting Margins, Concinnitas Journal, Instituto de Artes, Universidade Estadual do Rio de Janeiro (UERJ).

Curatorial projects 2013 Curator, Ibere Camargo, Fundação Ibere Camargo, Porto Alegre, Brazil.

2011 Curatorial Advisor, International PostWar Constructivism. Tate Modern.

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Jordan Baseman Reader

Biography Jordan Baseman is a visual artist and film-maker. 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 Time Based Media at Wimbledon College of Art, and is also a Lecturer at the Royal College of Art Sculpture School and The Ruskin School of Drawing and Fine Art, University of Oxford.

Jordan Baseman’s films have recently featured in international 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; Lone Star International Film Festival (where he won Best Short Film) and London Short Film Festival. Jordan Baseman is represented by Matt’s Gallery, London.

Research statement The film installations I make have something very real at their core.

However edited, constructed or manipulated the final works may be, the source, the starting point, the genesis, is always rooted in veracity – not artifice.

My recent work is a synthesis of reportage, portraiture, documentary, creative non-fiction and narrative practices. My films entertain, emotionally engage and challenge audiences. Although my 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. I try to create work that seeks to encompass wider spheres

of cultural reference, and therefore, to have broad impact.

I am interested in the spontaneity and unpredictability of the interview situation, exploring speculation, opinion, belief and anecdotes as central components of this process. The moving images within the films are never illustrations – they are often a counterpoint to the story being told and work in concert with the voices. In recent years, I have been experimenting with 16mm film and in-camera motion picture techniques. Visual abstraction, within a moving image context, is something that I have been increasingly interested in trying to manufacture. I wish to encourage visual breakdown, fragmentation and distortion, and to extend the unpredictable nature of the materiality of film itself at its most fundamental level.

A recent output As a project, deadness 2012–14 (a film, a series of screening events and a companion website) explores Western culture’s relationship with death, as seen through the professional and personal experiences of an embalmer, Geoff Taylor; and set alongside the cultural and sociological role of embalming as discussed by the sociologists, Dr John Troyer and Dr Kate Woodthorpe from the Centre for Death and Society, University of Bath. deadness investigates all aspects of contemporary embalming; including the technical and anatomical processes of this restorative art, as well as the philo­ sophical and sociological significance and meaning of the practice. deadness is a moving-image based experimental portrait about contemporary embalming, reconstruction processes, preparation for burial (on land and sea) and

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Jordan Baseman, deadness (production still), 2012/2013

cremation: offering a fascinating insight into an often hidden art.

The three participants are interviewed at length about their professional expertise and personal experiences. The interviews with Geoff Taylor, Dr John Troyer and Dr Kate Woodthorpe are heavily edited, in order to provide parts of the narrative soundtrack for deadness. These interviews explore their practical, professional and personal experiences of working directly with the deceased on a daily basis, and what it means for those involved.

— — Selected solo exhibitions and screenings 2012 Green Lady. Modern Art Oxford at Story Museum, Oxford.

2011 1973. Matt’s Gallery at Genesis Cinema, London.

2011 Nasty Piece of Stuff. Aberdeen Art Gallery, Aberdeen.

Selected group exhibitions/screenings 2012 Audio: Jordan Baseman y Susan Hiller. Fundacio Antoni Tapies, Barcelona.

2012 Animasivo Festival. Mexico City 2012 Tokyo Story. Tokyo Wonder Site, Tokyo 2012 Independent Filmmakers Showcase.

Hollywood.

2012 London Short Film Festival. ICA, London.

2011 Lone Star International Film Festival.

Fort Worth, Dallas.

2011 Scope. Tsinghua University, Beijing 2011 Edinburgh Documentary Film Festival.

Edinburgh.

2011 Dark Matters. Whitworth Art Gallery, Manchester.

2011 Among the Nightingales. Castlefield Gallery, Manchester.

2011 When the Dead Help the Living. Light Projects, Melbourne.

2011 Volta + Armory, Artprojx Cinema. SVA Theater, New York.

2011 London Short Film Festival. London 2011 Moving Portraits. De la Warr Pavilion, Bexhill on Sea. 2011 Coming of Age. Great Northern Museum, Newcastle.

Selected commissions and awards 2012 Compass. Beacon Art Projects, Lincolshire.

2012 Best Experimental Film. Independent Film-makers Showcase, Hollywood.

2012 Research and Development Award.

Animate Projects, London.

2011 Best Short Film. Lone Star International Film Festival, Dallas.

2011 deadness. Wellcome Trust Arts Award, London.

2011 Artist in Residence. Tokyo WonderSite, Tokyo.

2011 1973. Grants for the Arts, Arts Council England.

2011 Artist in Residence. St John’s College, University of Oxford.

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David Cross Reader

Biography As a Reader in art and design, I take an interdisciplinary, research-oriented and socially engaged approach to visual culture.

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

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

Research statement My research, practice and teaching are informed by a critical engagement with the relationship between visual culture and the contested ideal of ‘sustainable’ development.

In addition to producing aesthetic experiences, a key function of contemporary art is to test concepts, assumptions and boundaries. I am interested in the ‘instru­ mental’ potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions. In making such propositions, I aim to stimulate the kind of debate that is at the heart of active social agency.

The accelerating ecological crisis calls for an interdisciplinary approach connecting

Cornford & Cross, The White Bear Effect, 2012, LED screen showing Olympic highlights 4 × 3 m De La Warr Pavilion, Bexhill, East Sussex

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scientific and economic understanding with the problem-solving and communicating potential of design, and the critical, selfreflexive tendencies of contemporary art.

A recent output We hired a Light Emitting Diode (LED) screen to show a compilation of Olympic highlights featuring athletes at moments of sporting triumph.

LED technology splits the image into red, green and blue light, which appear to merge into white light at a certain distance.

Close to, the screen is experienced as a technological grid of pulsing, coloured lights; further from it, the points of light merge to become recognizable as an image. Between the image and the screen is a zone that corresponds to the liminal space in art between abstraction and figuration, and in science between perception and cognition.

In visual representation, perspective is used to produce the illusion that the picture plane is transparent, allowing imaginary access into the three-dimensional space depicted. One of the functions of a screen is to obscure what lies behind it. Yet in this installation, the screen consists of LEDs set in an open framework of clear plastic tubes, presenting the viewer with a shifting interplay between the illusory and the actual.

Moving freely around the installation, the viewer can take a range of subject positions, including spectator, observer and performer.

In our first conversation with neuroscientist Dr Richard Ramsey, he described ‘the white bear effect’, a paradox noted in 1863 by Russian author Fyodor Dostoevsky, and tested over a century later by scientists Daniel Wegner and David Schneider. People instructed to suppress thoughts of a white bear find their thoughts flooded with thoughts of white bears. The scientists concluded that, ‘attempted thought suppression has paradoxical effects as a self-control strategy, perhaps even producing the very obsession or preoccupation that it is directed against’.

— — Selected publications 2012 ‘Bonjour Tristesse’, in Relational Ecologies, Dr Peg Rawes (ed.). London: Routledge Publishing.

2010 ‘A Dialogue on Art School’, in Curating and the Educational Turn: II, P. O’Neill & M. Wilson (eds). London: Open Editions and Amsterdam, De Appel.

2009 Cornford & Cross. London: Black Dog Publishing.

Selected works 2012 The White Bear Effect. Everything Flows.

De La Warr Pavilion, Bexhill.

2010 It Happened Here. The Commandery, Worcester.

2008–09 The Lion and the Unicorn.

Wolverhampton Art Gallery.

2008–09 The Once and Future King. Give Me Shelter, Attingham Park, Shropshire.

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Rebecca Earley Reader

‘Transformable Packaging Project: Box-Plus and Box-Less Concepts’, Becky Earley, 2012

Biography Becky is Director of UAL’s Textile Futures Research Centre (TFRC) and is lead researcher in TED at CCW. She divides her working life between Central Saint Martins College of Art and Design, Chelsea College of Art and Design, and Konstfack University College of Arts, Craft and Design in Stockholm, where she is Guest Professor.

She is an award-winning designer, researcher and consultant, whose creative work has been exhibited widely over the last twenty years. She is collected by museums across the globe including MFIT and the V&A in London.

Her consultancy clients include H&M, VF Corporation, Puma, Gucci Group, and PPR Home. She is a skilled workshop facilitator and communicator, specializing in the translation of research into commercial and industrial contexts.

Research statement Since the late 1990s, Becky has been exploring the potential for designers to upcycle textiles, focussing principally on polyester and its potential to be over-printed and successively transformed into luxury clothing of a higher commercial value. Her Top 100 project (upcyclingtextiles. net) spans a decade and has evolved a wide range of practical and conceptual approaches.

Throughout her research career, Becky has been co-developing a toolbox of design strategies to reduce the environmental impact of textile production, consumption and disposal. TED’s TEN helps designers to make more informed and innovative design decisions. www.tedresearch.net/teds-ten-aims A recent output Designing out harmful chemicals, and using as few materials as

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possible are key challenges for textile designers. Creating better packaging in the fashion industry, and particularly rethinking the shoebox, are seen as challenges more traditionally connected to product design.

During 2011–12, the TED project team were invited to curate the Responsible Living section of the Futurewear exhibition, for VF Corporation in North Carolina, USA. Using TED’s TEN sustainable design strategies, they developed ten key exhibits, sourcing existing and previously unexhibited work, as well as commissioning several pieces made to their specification. TED worked on these commissions with students and professional designers – art directing and mentoring, but also designing and making objects themselves.

The Transformable Packaging project brief enabled Becky to research how brands could better ship, store and sell their shoes, as well as considering how the consumer might gain added value and use from the packaging that comes with their purchase.

The five Box-Less and Box-Plus exhibits demonstrated how to: reuse the shoe box in novel ways after you get it home – for you, and the birds in your garden; create new storage solutions for both the shop’s stockroom and the domestic wardrobe; use specially cut fabric panels and T-shirts to both transport the shoes home, and subsequently transform them into new wearable garments; use a recycled polar fleece as both a rucksack for new boots, and as a warm wearable gator hood with spare bootlaces.

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

Exhibitions 2012 Future Wear, Transformable Packaging: Box-Plus and Box-Less Textile Packaging Concepts, North Carolina.

2011–12 Responsible Living. Earley and Politowicz, curation, research direction and mentoring.

2010–11 Trash Fashion…Designing Out Waste in the Fashion Industry. Science Museum, London.

2010–11 reTHINK!: Eco Textiles. Audax Textile Museum, Tilburg.

2009–11 Taking Time: Craft and the Slow Revolution. Craftspace touring exhibition, Birmingham Museum and Art Gallery with a UK tour.

Presentations 2012 ‘Barriers and Limitations’. Copenhagen Business School.

2011 Avancell Conference. Chalmers University, Gothenburg, Sweden.

2011 Fashion Colloquia event. London Fashion Week, London College of Fashion.

2011 Towards Sustainability in the Fashion and Textiles Industry Conference, KEA Copenhagen.

2011 VF Corp CEO Global Retreat. Earley and Politowicz, MIT Media Lab Boston.

Peer esteem 2012 Keynote speaker. 50 Ways, Puma Sustainable Design Collective.

2012 Sloggi / Triumph, London.

2011 Creative Director. VF Corp Global Student Competition Show, MIT Media Lab, Boston.

2011 Keynote speaker. H&M Head Office, Stockholm, Sweden.

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Mark Fairnington Reader

Biography Mark Fairnington, Reader in Painting at Wimbledon College, is an artist who has shown extensively in museums and private galleries in the US and Europe.

Collaborative research projects with scientists have included Membracidae, funded by the Wellcome Trust, and an exhibition of Fairnington’s work, Fabulous Beasts, was mounted at the Natural History Museum, London in 2004. In 2008, he was one of ten artists invited to produce designs for a ceiling in the NHM to mark the bicentenary of Charles Darwin; and his work was also included in A Duck for Mr Darwin – Evolutionary Thinking and The Struggle To Exist at the Baltic Centre for Contemporary Art.

monograph with texts by Martin Stather, Darian Leader and Mary Madden that was launched at the end of the exhibitions, along with the book Flora, including a new text

by Adrian Rifkin.

The exhibitions contained 51 works made during the period 1999–2012 and ranged in size from the large-scale bull paintings, such as Gretnahouse Umpire, to the bird painting Paradise Deceased. Pieces from seven different series were included; Specimens, Paradise, Birds, Bulls, Flora, Eyes, Displays and Storage. The central focus of the exhibitions was Fairnington’s natural history paintings beginning with Specimens, 1999– 2010 that showed insect specimens from the Mantidae family enlarged to the size of human beings. The paintings depict the Research statement Fairnington’s research specimens as specimens, not the insect as it is founded on painting as its primary method might appear in its most perfect state. of research and explores images of the They describe the complex surface detail of specimen in relation to the lineage of animal the specimens as they are now, including and plant painting, and the history of human the damage that has resulted from the understanding of the natural world. The collecting process. research investigates museum collections, Two of the most recent series of works their history, how specimens are housed, shown were Bulls and Flora. The Bulls are stored and displayed, and some of the life-sized paintings of prize-winning stock possible relations between art and science. bulls that open up connections between the His paintings represent how we see nature history of animal portraiture, the economy through the diverse specimens held in these of selective livestock breeding and how this collections and how this seeing has changed determines physical characteristics of the over the centuries. Attention to detail, gained animals. Flora is a series of paintings that through studied and intense observation, imagine new hybrid plants, referencing becomes a platform for speculation and genetic engineering, the history of flower storytelling in works that exist at a precise painting and botanical illustration. junction between science and fantasy.

— — Selected publications A recent output Unnatural History, January– 2012 Unnatural History. Peter Zimmermann March 2012, was a major retrospective Gallery, monograph with texts by Stather, exhibition of Fairnington’s work held in two M., Leader, D. and Madden, M. venues – the Kunstverein and Galerie 2011 Flora. Oliver Sears Gallery, Dublin.

Peter Zimmermann, Mannheim, Germany.

Mark Fairnington, Unnatural History is a

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Mark Fairnington, The Brotherhood, oil on canvas, 165 × 241cm,

One person exhibitions 2012 Unnatural History. Peter Zimmermann Gallery, Mannheim, Germany.

2011 Flora. Oliver Sears Gallery, Dublin.

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

2010 The Moment of Privacy Has Passed.

Usher Gallery, Lincoln.

2010 Now and Then. Oliver Sears Gallery, Dublin.

2010 21. Harewood House, Leeds.

2010 Profusion. Calke Abbey, Derbyshire.

Two person/group exhibitions Presentations and workshops 2011 Auction Room. Globe Gallery, Newcastle. 2010 Blood Tears Faith. The Courtauld Institute 2011 Drawing: Interpretation/Translation. of Art, London.

The Drawing Gallery, Powys.

2010 The Third Centre for the Study of Art and 2011 London Calling. Peter Zimmermann Travel workshop. Tate Britain, London.

Gallery, Mannheim, Germany.

2011 40 Artists – 80 Drawings. The Burton Art Gallery and Museum, Devon.

2010 Miscellaneous. Peter Zimmermann Gallery, Mannheim, Germany.

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James Faure Walker Reader

Biography James Faure Walker studied at St Martins and the RCA. 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; Digital Pioneers at the V&A; Imaging by Numbers, Block Museum, Illinois, Siggraph, USA, DAM Gallery, Berlin and John Moores. In 1998, he won the Golden Plotter at Computerkunst, Gladbeck, Germany. His book, Painting the Digital River: How an Artist Learned to Love the Computer, won a New England Book Show Award.

Research statement You could say that introducing software into painting changes everything. You can bend shapes about, alter colours once you have put them down, make an infinite number of changes and overlays without disturbing the surface, use geometry as if it was fluid, spin and mix images at will – all true. But you could also say that it makes no difference. There are good pictures, and not so good pictures. I have been collecting and studying drawing manuals published in the first half of the twentieth century. These out-of-date tips of the trade, with stripped-down graphics, anticipate the technical tricks of the drawing program.

A recent output One problem I have been tackling has a technical side: how to achieve fluidity in both the digital and painterly process; that is to say, to carry over the free­ dom of improvizing in Illustrator or Painter, into a seamless painting process; how to keep a keen eye on a composition as it devel­ ops. There are related questions. The approach needed in beginning a picture may be different to what is needed mid-process.

Pictures don’t always need a starting point –

a source, an idea, a motif – but can just happen through playing around.

Improvization.

This picture has affinities with Dark Filament (2006) (www.vam.ac.uk/content/ articles/c/computer-art-artworks-in-detail), shown in Digital Pioneers at the Victoria and Albert Museum in 2009–10. That had a quotation in the middle from a botanical illustration of the 1900s. Here it is all process.

Increasingly I feel uncomfortable with the digital label, as more than half my time is spent with paint and canvas. (And my heroes are the likes of Kandinsky, Klee, Dubuffet, de Kooning, Tapies.) Again, it is a picture rather like a stew, made up of leftovers and scraps of unsuccessful paintings. I use several devices to give it an apparent unity, such as slicing up and scattering several drawings in different modes, juxtaposing vector-formed curves against ‘painterly’ lines, and many ‘pattern brushes’, and a lot of dots. I probably use drawing in a decorative manner, animat­ ing the space. Dreaming a bit too. I hope the authors of those drawing manuals would not be too censorious, but they might be right to call this ‘mere scribbling’.

— — Selected publications 2012 ‘Getting Closer to Nature: Artists in the Lab’. Biologically-inspired Computing for the Arts: Scientific Data through Graphics.

Ursyn, A. (ed.), USA: IGI Global.

2012 A Drawing Book for Digital Eyes. Linha do Horizonte. Lisbon: Technical University.

2011 ‘Drawing Books and Digital Devices’.

Drawing Connections – China Risk and Revolution, Lu Xun Academy of Art, Dalian, China; International Drawing Research Institute College of Fine Art, UNSW, Australia.

2011 Painting Further Along the River. ISEA, Istanbul.

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

2011 ‘On Not Being Able to Draw a Mousetrap’. Journal of Creative Interfaces and Computer Graphics. IGI Global, vol.2 issue 1.

2011 London Group, Cello Factory Gallery.

2011 Drawing: Interpretation/Translation. Hui Gallery, Hong Kong, The Drawing Gallery, Walford and Wimbledon Space.

2010–11 Jerwood Drawing Prize, Jerwood Space, London and touring.

Selected group exhibitions 2012 Transformations: Digital Prints from the V&A Collection. Great Western Hospital, Swindon.

2012 Territories and Boundaries. Kensington and Chelsea College, London.

James Faure Walker, Dark Pond, 2012, archival inkjet print, 71 × 74 cm

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Rebecca Fortnum Reader

Biography Rebecca Fortnum 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 University College and Wimbledon College of Art. She led the MA Fine Art at Camberwell College from 2009–12.

Awards include the Pollock-Krasner Founda­ tion; the British Council; the Arts Council of England; the British School in Rome; the AHRC; Space for 10; METHOD Cultural Leadership Programme; and White Square Teaching Award.

She has had solo shows at the Collective Gallery, Edinburgh, Spacex Gallery, Exeter, Kapil Jariwala Gallery, London, Angel Row Gallery, Nottingham, The Drawing Gallery, London and the V&A’s Museum of Childhood.

She was instrumental in founding the artist-

run spaces Cubitt Gallery and Gasworks Gallery, both in London.

Research statement My research falls into four related areas; a visual art practice; documenting fine artists’ processes; contemporary women artists; and fine art pedagogic research.

My research project, Visual Intelligences, at Lancaster University led me to work with artists, finding creative ways to document their making processes and curate events such as ‘On not knowing; how artists think’ at Kettle’s Yard. I have a long-held interest in contemporary art practices by women and my book, Contemporary British Women Artists, in their own words, was published in 2007. My pedagogical research includes a University Teaching Fellowship, examining the use of written feedback, writing on the

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use of the studio within the art academy and the ‘educational turn’. I have conducted a R-A-S research project to introduce a more diverse curriculum within Fine Art. With other UAL colleagues, I established Paint Club, an open network that furthers research around issues in contemporary painting. My art practice currently uses text and portraiture to reflect on issues of empathy and communi­ cation and, in 2012, I curated two exhibitions at the V&A’s Museum of Childhood.

A recent output Drawing – in and outside – Writing. In 2011, I was awarded an OPAK research grant from the K.U. Leuven federation of Flemish Universities to develop the project Drawing – in and outside – Writing. With artists Kelly Chorpening, Peter Morrens and Ans Nys, I began to make work with the intention of investigating the relationship between writing and drawing.

Individually and together we asked if writing could ever become drawing and whether drawing might have a syntax or be read?

Through research methods that included exhibitions and residencies, we explored the ways in which thinking and writing can become fused in the creative act of drawing.

A book of the same name was published

by RGAP (Research Group for Artists Publications) in 2012 and is the result of these speculations.

Within my art practice, I have been exploring the conflation of looking and reading for some time. For this project, I focused specifically on the relationship between image and text, where re-drawing and re-reading creates an awareness of text and image as a site of return. I was curious about the process of copying that neutralizes the expressive mark and suggests that we ‘read’ images comparatively. When a face is re-drawn, an ‘other’ emerges, neither an individual nor yet quite a clone, providing a sense of provisional or unstable identity.

By juxtaposing drawn portraits of L’Inconnue de la Seine and letterpressed fragments of

text referring to the struggle of the governess in Henry James’s Turn of the Screw, I reflected on how a new (and incomplete) narrative can emerge.

— — Selected publications 2012 Drawing – in and outside – Writing.

RGAP, Sheffield.

2011 Fluviatile. Lindsey Adams and Michelene Wandor (eds). Sheffield: RGAP. 2010 Fine Art’s Educational Turn. Co-editor, Dialogues in Art and Design, GLAD. Exhibitions 2011 Absurd Impositions, solo exhibition, V&A’s Museum of Childhood, London.

2012 Dead Original. Five Years, London.

2011 The Imagination of Children. V&A’s Museum of Childhood, London.

2011 40 Artists – 80 Drawings. Burton Art Gallery and Museum, Devon.

2011 In and out of writing. Voorkamer, Lier, Belgium.

2011 Fraternise. Beaconsfield, London.

2011 Interpretation/Translation, Chinese University, Hong Kong, The Drawing Gallery, Shropshire and Wimbledon Space, London.

2010 Bedizzened. APT Gallery, London 2010 25 artists – 25 drawings. Victoria and Albert Museum, London.

Awards 2012 White Square Teaching Award, Student Union Arts, UAL. 2011 R-A-S Pedagogic Research Award, University of the Arts London.

2010 OPAK Research Award, KU Leuven, association of Flemish Universities.

Peer esteem Member of Paradox (Fine Art European Forum) Steering Committee.

External Examiner for LASALLE College of Art, Singapore: Reading University; Northampton University; and Cyprus College of Art.

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Yuko Kikuchi 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 UAL in 1994 to complete a PhD on the Mingei movement and is currently teaching MA courses, supervising research students and conducting research on postcolonial transnational issues as a core member of TrAIN, in her capacity as a specialist in design history and cultural studies.

Research statement I have pursued my interest in the nature of modernities in transnational visual culture and design in East Asia, through my key publications on the Japanese and transnational Mingei movement (Japanese Modernization and Mingei Theory: Cultural Nationalism and Oriental Orientalism, 2004); and on modernities in colonial Taiwan (Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, 2007). The latter has been developing into multiple inter­ national design history joint projects and networks under the umbrella title, ‘Oriental Modernity: Modern Design Development in East Asia, 1920–90’, which investigated the regional and inter-regional modern design activities in Japan, Korea, and China/Taiwan/ Hong Kong.

A recent output My current research outputs fall into mainly three areas: 1. Transnational visual culture histories; 2. Globalization of design history studies; and 3. Inter-East Asia design histories and historiography.

Studies on transnational activities by such figures as Kitagawa Tamiji (Japan-USA-

Mexico), Yen Shui-Long (Taiwan-JapanFrance) and Russel Wright (US-East and South-east Asia) have been either neglected, or exist as partial studies from a single national perspective; thus my research intends to contribute to new transnational visual culture history studies. Russel Wright and Asia is my long-term book project that investigates American designer Russel Wright’s design intervention in Asia (Japan, Taiwan, Hong Kong, Vietnam, Thailand and Cambodia) during the Cold War period. This research investigates the interrelationship between post-war American and Asian design identities, American Occupation and Cold War cultural policies in Asia, as well as understudied local histories of Asian design development. As an editorial board member of the Journal of Design History, I am con­ tributing a series of outputs that take forward its vision of globalizing the all-tooAnglophone-centred discipline of Design History. My works raise questions and fuel the debate on the framework and metho­ dology for ‘global’, the issues of translation, and the untranslatable/unfitting elements of modernities (for example, crafts). By providing a rich set of varied case studies (Yen Shui-Long, design and designers in the Japanese Empire), we intend to build an emerging field of East Asian design histories, and create a modern inter-East Asia historio­ graphy through a network of East Asian scholars.

— — Selected publications 2012 ‘American Occupation and Cold War Japanism: Containment and Mixed Marriage in Design and Film’, in: Toshio Watanabe and Yuko Kikuchi (eds) Trans-war Japanism 1920s–1960s: Shaping Tastes for Japanese Art in Britain, North America, and Japan. Boston and Leiden: Brill.

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Bamboo desk lamp by Yen Shui-Long, 30 × 18 × 50 cm, 1957, private collection

2012 ‘re: focus design—Design Histories and Design Studies in East Asia’ (Part 3: Conclusion), Journal of Design History, 25–1.

2011 ‘re: focus design—Design Histories and Design Studies in East Asia’ (Part 1: Introduction and Japan), Journal of Design History, 24–3.

2011 ‘Visualizing Oriental Crafts: Contested Notion of “Japaneseness” and the Crafts of the Japanese Empire’. 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’. Omuka, T. (ed.), Studies on Audience and Reception of Art in Japan, Tokyo: The Japanese Ministry of Education, Science, Sports, Science and Technology KAKEN. 2010 ‘The Question of “Japaneseness” and the Creation of the “Greater Oriental Design” for Crafts of the Japanese Empire’.

Archív Orientáln, Literature, History and Culture of Taiwan.

Peer esteem 2012 ‘Minor transnational inter-subjectivity in 2009 Editorial board member of Journal of Kitagawa Tamiji’s “art of the people”’.

Design History (UK).

Michiko Tanaka Nishishima (ed.), Seki Sano and Kitagawa Tamiji: Japanese Artists in Mexico in the 1920s–1960s, Mexico: El Centro de Investigación Teatral Rodolfo Usigli and El Colegio de México.

2012 ‘The Cold War Design Business of Russel Wright and JDR 3rd’. The Rockefeller Archive Center publication.

2012 ‘Shui-Long Yen and Vernacularism in the Development of Modern Taiwanese Crafts.’

Shui-Long Yen: The Public Spirit, Beauty in the Making, Taipei: Taipei Fine Arts Museum (in Chinese and English).

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Hayley Newman Reader

Biography Hayley Newman is a Reader at Chelsea College. She studied at Middlesex University, The Slade School of Fine Art, Hochschule für bildende Künste Hamburg and University of Leeds, where she completed her PhD in 2001. In 2004–05, she was the recipient of the Helen Chadwick Arts Council of England Fellowship at the British School at Rome and the Ruskin School of Drawing and Fine Art, Oxford. She has had solo shows at Matt’s Gallery, London; The Ikon Gallery, Birmingham; Centre d’Art Contemporain, Geneva; and The Longside Gallery at the Yorkshire Sculpture Park; 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.

Research statement My work often involves performance and performativity, documentary practice, humour, subjectivity and fiction. Over the past few years, I have worked both individually 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 current economic, social and ecological crises: from cuts to funding, which are changing the social fabric of our lives, to the environment and irresponsible behaviours of giant corporations. I am also interested in perma­ culture; an ecological design practice that meets people’s needs in an ethical and sustainable way.

A recent output Common is a novella that was written over the summer of 2011; a period of time that encompassed a crash in global markets caused by the downgrading of American debt, turbulence in the Eurozone

and protests/riots that started in London before spreading across Britain. The book is set in the City of London, one of the homes of global finance.

Written through the voice of ‘SelfAppointed Artist in Residence’, events in the book take place over a day and mix together personal experience, observation, perfor­ mance interventions and fictional imaginings of the City of London. The book aims to bring together the past and present, personal and political, and to make sense of the current economic crash by osmosis; through spending time in the City of London itself. In doing this Common asks if it is possible to make sense of crisis from within crisis itself?

The mysterious gothic atmosphere at the beginning of the book was inspired by Edgar Allen Poe and positions my voice as that of outsider/insider and detective/artist; while the semi-autobiographical novel W, or the Memory of Childhood by Georges Perec was a model for autobiographical writing, uncertain memory and the use of fantasy to create allegory.

Common is a metaphor for collapse (social, environmental and economic).

Performances recur throughout, from my own performance interventions to the performance of markets and of traders at the London Metal Exchange. Material on banking and economics appears in the footnotes as rolling news; a stream of polemic replicating the TV screens watched in lobbies across the City of London.

Common uses humour to expose incongruences of power. It is a satire that raises serious issues about capitalism, the environment, and social and economic inequality. It will be published by Copy Press in 2013.

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Self-Appointed Artist-in-Residence, Hayley Newman, 2011

Selected exhibitions and performances 2012 Facing. Solo performance, Cornerhouse Gallery, Manchester.

2011 Richard of York Gave Battle in Vain.

Group exhibition, Whitechapel Gallery, London.

2011 Last of the Red Wine (The prequel/ sequel). Project Arts Centre, Dublin.

2010 The Sculpture Years (performance).

Sculpture and Performance, The Henry Moore Institute, Leeds/Tate Liverpool.

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

2009–10 Emporte-moi / Sweep Me Off My Feet. Group exhibition, Musée national des beaux-arts du Québec, Canada and MAC/ VAL, Paris.

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

With the gluts: 2010 The Gluts go to Copenhagen screened at AV10 Festival, Newcastle, Camden Arts Centre, London and at Sexuate Subjects: Politics, Poetics and Ethics (conference), UCL, London.

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

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

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Michael Pavelka 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 (UK, Europe, USA, Far East), and Rose Rage (West End, Chicago, New York, Chicago). Library Theatre Manchester designs include The Life of Galileo (Best Design MEN Awards), plus numerous Shakespeare and Brecht productions.

Research statement My current practicebased research continues to extend over a decade of production work with the ensemble company Propeller, of which I am a founder member. Each project now spans a period of eighteen months and has recently involved double bills of plays, produced in England but toured across the UK, continental Europe, North America and the Far East. These radical but accessible productions of Shakespeare’s most challenging and layered works are explored in the context of all-male casting.

The scenography supports performance that is characterized by its intensely physical approach, speed and clarity. Cross-gender casting presents opportunities to investigate the language of clothing and movement that are approached in different ways from project to project depending on the metaphorical positions of the characters.

The ensemble company framework presents dynamic solutions to Shakespeare’s narratives that are told by a chorus with a specific social identity, unified as a force with costume, music and movement. The chorus are usually being seen to ‘devise’ the stories in view of the audience and underscore them with live soundscapes created with unusual objects as well as musical instruments – their continuous presence provides the focus for scenographic ideas and images.

The company is committed to wider accessibility and the productions attract diverse audiences. Its output has been extended to include the publication of ‘pocket’ versions of the texts for educational outreach. Recognition of this work is reflected by 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 volume of theatrical space, often suspended.

A recent output Set and costume design for Henry V and The Winter’s Tale, Propeller Theatre 2011–12. Collective authorship of a production is the philosophical premise of Propeller Theatre and critical to the integrity of the design process, discovering what an ensemble means for all of us: not only performers, but also a complete creative, technical and administrative team.

The all-maleness of the company is hardly a new thing, but its strengths continue to stimulate our collaborative process and make clearer the onstage game of tag that characterizes good ensemble work, a game without the complications of blatant sexual chemistry. Depictions of gender can be reserved and deployed as simply another stylistic idea serving the narrative rather than a sideshow of naturalistic voyeurism. The audience are constantly reminded that the actors are (very skillfully) pretending – which in turn requires the viewer to collaborate in the pretence.

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I design worlds for these two plays in which this can fluidly happen; to help make the physical demarcation between the layers of a performer’s reality clear for the audience in relation to the telling of the story: to set some physical rules for the actors to make and break.

— — Selected exhibitions 2011 Video edit of the process of designing and producing Off the Wall, South Bank, London. Representing the UK at the Prague Quadrennial and V&A. Selected performances 2011–12 Henry V and The Winter’s Tale, company world tour, Propeller Theatre.

2012 Hay Fever. Gate Theatre, Dublin and Charleston SC Spoleto Festival.

2011 The Go Between, West Yorkshire Playhouse and other UK venues.

2010–11 Richard III and The Comedy of Errors.

Propeller Theatre company world tour.

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

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

Selected awards 2009 Winner of Theatrical Management Association Best Design award for The Merchant of Venice.

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

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Malcolm Quinn Reader

Biography Dr Malcolm Quinn is Associate Dean of Research and Reader in Critical Practice in CCW Graduate School. He has written extensively on art and design research, and is an experienced PhD super­ visor. 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.

Research statement My current research focuses on the development of governmentfunded art education in early 19th-century Britain, looking at three principal issues: The historical question of how the pub­ licly funded art school emerged from a utili­ tarian critique of the academy.

The philosophical question of the relation between utility and taste.

The political and ethical question of how Jeremy Bentham’s opposition between utility and taste depended on the production of an unauthorized cultural space.

This research, which began with a UAL sabbatical in 2009, is summarized in Utilitarianism and the Art School in 19th-century Britain (Pickering and Chatto, 2012).

A recent output ‘The Disambiguation of the Royal Academy of Arts’ appeared in History of European Ideas in March 2011. This article used Jeremy Bentham’s concept of disam­ biguation, which links language to power and ‘sinister interest’, to analyse criticisms of the Royal Academy of Arts by Benthamites at the Select Committee on Arts and Manu­ factures of 1835–36. The Benthamites on the committee contrasted the possibility of ‘the

education of the eyes of the people’ through the publicly funded art school with what they called the ‘ambiguous, half-public, halfprivate’ status of the Royal Academy of Arts.

My article focused on questions of ethics, specifically the linguistic turn taken by Bentham’s ethics, and its relevance to a dilemma of pedagogy in commercial society framed by Adam Smith. Smith’s dilemma turns on the conflict between the require­ ment for a pedagogy that conforms to the principle of free trade, and an equally binding requirement for a virtue ethical model of pedagogy that offers a remedy for the corrupting effects of commerce on character.

Adam Smith’s support for private academies of art asserted a hierarchy of virtue ethics over utility, thus safeguarding autonomous ethical reasoning within capitalist forms of social life. Bentham’s thought, in contrast, eschews the link between ethics and char­ acter, and places ethics itself within nor­ mative rules of language and cognition. The disambiguation of the Royal Academy of Arts in the name of utility placed publicly funded art education in an ‘unauthorized’ cultural situation. The pressing questions for publicly funded art education are then – what can be taught, how can it be taught and to whom should it be taught?

— — Selected publications 2012 Utilitarianism and the Art School in Nineteenth-Century Britain. London: Pickering and Chatto.

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

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

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The Government School of Design, founded in 1837, was the first publicly funded art school in England.

2010 ‘Insight and Rigor: A Freudo-Lacanian Approach’, chapter in Michael Biggs, Henrik Karlsson (eds), The Routledge Companion to Research in the Arts. London; Routledge.

2010 ‘Lapdogs of the Bourgeoisie’, in: Nav Haq and Tirdad Zolgadhr (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’, Revue d’études benthamiennes 9.

2011 ‘The Disambiguation of the Royal Academy of Arts’, History of European Ideas, 37:1.

2011 ‘The political economic necessity of the art school 1835–1852’, The International Journal of Art and Design Education, 30:1.

Selected conferences and lectures 2012 ‘Bentham and Hume on Social Standards of Taste’, International Society for Utilitarian Studies (ISUS) conference, New York.

2011 ‘Reading Reynolds With Bentham: The Idea of the Art School in NineteenthCentury Britain’, Bentham Project, University College London.

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

2010 ‘The Idea of the Art School in Early Nineteenth-Century Britain’, conference organizer, Tate Britain, London.

2010 ‘The education of the eyes of the people by our own government: public pedagogy and the art school 1835–1852’, UAL Peda­ gogic Research Network, CSM Innovation Centre.

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Carol Tulloch Reader

Doily, late 1800s. Made by Amy Cunningham, a Romani who travelled as part of a group around Britain until she settled with her husband and children in Norwich in 1914. Mrs Cunningham’s great-granddaughter and textile artist, Cas Holmes, inherited the doily

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

Research statement My current research focus is on the telling of self through the styled black body. This includes cross-cultural

and transnational relations, cultural heritage, auto/biography, personal archives and what I call style narratives. I combine these approaches to consider how black people negotiate their sense of self within various cultural and social contexts locally, nationally and internationally. Understandably, my work includes other social and cultural groups to compare experiences, and/or cultural collaborations with people of the African diaspora that enables me to develop a dialogue in the telling and place of indi­ viduals and groups. Additionally, the experiences of lives in different situations, the home, and making things have also informed the expansion of my research.

A recent output In 2010, I curated the exhibition Handmade Tales: Women and

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Domestic Crafts at the Women’s Library, London. The show was interested in the practices of the ‘amateur’ craftsmaker.

The exhibition considered how domestic crafts can be a space to channel different life experiences. To illustrate some fifty percent of the exhibition, captions were written by lenders of objects as they related to their life histories. In order to demonstrate the cultural influences that have contributed to the vast practice that is domestic crafts in Britain, the show included a range of cultures – English, Caribbean, Romani, Jewish, Indian and Scottish, and age groups, with 10–80 year old women and men from different strata of society from the mid-19th century to the present. A prime aim of the project was to give this area of craft practice cultural capital.

The exhibition developed out of critical thinking of earlier research projects, notably the research activities of the Dress and the African Diaspora Network. This resulted in the special issue ‘Dress and the African Diaspora’ for the journal Fashion Theory, which I edited. In my ‘Letter from the Editor’, I encouraged readers to consider the research benefits of the complex network of traceable associations between networks of objects-people-geographies associated with dress and the African diaspora, which are equally valid to other areas of dress studies, an approach I applied to Handmade Tales and expanded to consider objectspeople-geographies-making.

— — Selected publications 2012 ‘It Takes a Nation of Millions to Hold us Back: Freedom and the Dynamics of the African Diaspora’, in aus dem Moore, E. (ed.) In the Seams: The Aesthetics of Freedom Expressed. Stuttgart: Institut für Auslandsbeziehungen.

2011 ‘Buffalo: Style with Intent’ in G. Adamson and J. Pavitt, Postmodernism: Style and Subversion, 1970–90. London: V&A. 2011 ‘Ring Italian, 1650–1700’ in Spotlight on African and the Diaspora: A Guide to Black

Heritage Objects in the V&A’s Collections.

London: V&A. 2011 ‘Champagne Glass’ in Ideal Home.

London: CHELSEA space.

Selected curatorial projects 2012 International Fashion Showcase.

Botswana, Nigeria, Sierra Leone, British Council, London.

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

Selected presentations and conference papers 2012 ‘Handmade Tales: Curating Domestic Craft Practice’. Disruptive Difference: Transnational Craft Dialogues. The Shape of Things conference, School of Museum Studies, University of Leicester.

2012 ‘Picture This the “Black” Curator’.

Curators in Conversation 6: Investigating a Curatorial Position within the Paradoxes of Multiculturalism: Parallels Between the UK and Sweden.

2011 ‘Freedom is a Road Seldom Travelled by the Multitude’. Keynote. In The Seams: The Aesthetics of Freedom Expressed conference, Center for Historical Reenactments, Johannesburg.

2011 ‘A Reflection on the Inclusion of Black Studies in Design and Art Education’.

Black Studies in Art and Design Education: Past Gains, Present Resistance, Future Challenges conference, Parsons the New School for Design, New York.

2011 ‘When Clothes Speak: The Fabric of Our Heritage’. GSK Contemporary Salon, Royal Academy of Arts, London.

Awards 2011 British Academy Small Research Grant.

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Research Centres and Networks

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TrAIN Director: Professor Toshio Watanabe Deputy Director: Professor Deborah Cherry (CSM) The University of the Arts London’s research centre for Transnational Art, Identity and Nation (TrAIN) is a forum for historical, theo­ retical and practice-based research in archi­ tecture, art, communication, craft and design.

In an increasingly complex period of global­ization, established certainties about the nature of culture, tradition and authenticity are constantly being questioned.

The movement of people 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 inter­nationally recognized scholars and practitioners, both 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 consumption of artworks and artefacts in this new global context. Transnational rela­ tionships 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 and 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 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, exhi­ bitions 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, transnational.org.uk. or join TrAIN Research Centre Facebook group, or follow us on Twitter @TrAINCentre.

Key partnerships include the TrAIN/ Gasworks Artists’ Residency, an international residency that 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 2012–13, TrAIN will host a Fullbright Scholar and the third in a series of Fullbright Visiting Distinguished Chairs in partnership with the Tate Gallery.

Current TrAIN research projects include; The Birth of Cool: Style Narratives of the African Diaspora; and Meeting Margins, Transnational Art in Latin America and Europe, 1950–78 (in collaboration with the

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University 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 (AHRBfunded).

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

CRM. (Funded by the Arts & Humanities Research Council (AHRC).)

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 data analysis, semantic technologies, and collection management tools. Current projects include:

Saint Catherine’s Monastery Library Project, Mount Sinai, Egypt The monastery of St Catherine in the Sinai, Egypt, is the oldest active Christian monastery in the world. The monastery’s library holds a unique collection of Byzantine manuscripts. Ligatus has undertaken the task of assessing the condition of the manu­ scripts, is designing a new conservation workshop and is advising on further conser­ vation work. (Funded by the Saint Catherine Foundation with additional support from the Headley Trust.)

Language of Bindings: A Bookbinding Thesaurus A project to create a detailed bookbinding thesaurus which can be used as common reference by bookbinding experts in different countries. The thesaurus is edited by a committee and will be the first step towards a bookbinding ontology based on the CIDOC

Limp, laced-case calf parchment cover on an Antwerp edition on 1533

Ligatus Bookbinding Schema Following the condition surveys in the

A leaf from a 12th-century manuscript used as the limp, laced-case cover of a sixteenth century German edition

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Saint Catherine’s library and other research libraries, Ligatus has developed a schema for recording bookbindings, which is documented by a glossary of terms which match the schema fields. This schema is further being developed in conjunction with the Bookbinding Thesaurus and serves as the basis for an online descriptive process to record bookbindings. Funded by the Arts & Humanities Research Council (AHRC)

debated issue in the profession. Postmodern thinking on archives led archivists to accept the inevitability of their subjectivity as a disadvantage, 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 Saint 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 have worked internationally in major public and private collections.

Ligatus Summer Schools The Ligatus Summer Schools aim to uncover the possibilities latent in the detailed study of bookbinding and focus mainly on books from Europe and the eastern Mediterranean, which have been bound between the 15th and the early 19th century. Courses have taken place in Volos, Patmos, Thessaloniki, Wolfenbüttel, Venice and this year in Paris. The courses also offer visits to important local libraries, both secular and monastic. A knowledge of the structure of bindings can help conserva­ tors, librarians, book historians and scholars who work with old books to understand the age, provenance and significance of bindings for historical research and cataloguing, as well as to make appropriate decisions regard­ ing 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 impor­ tant for collections of manuscripts and early printed books.

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 Time Theory’, a unifying overview of the world, are fascinating, complex and worthy of serious study. By focusing on such an original, highly theoretical artist, the John Latham Archive project argues for the need for creative solutions to the methodological and technical challenges posed by artists’ archives. These solutions are being tested against, and adapted to, other private and institutional archives. (Funded by the AHRC and the Henry Moore Foundation.)

Creative Archiving The archivist is the keeper of historical truth.

Objectivity in archival practice is a much

Ligatus Areas of PhD Research The interface of semantic technologies and creative practice.

Historic bookbinding in Europe, the Middle East and the Americas.

Digital applications to bookbinding and conservation.

Creative archiving.

Semantic archiving. www.ligatus.org.uk

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Ligatus cooperates with many institutions, 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.

Karl-Franzens-Universität Graz (University of Graz). Österreichische Nationalbibliothek (Austrian National Library).

Universiteit Antwerpen (Antwerp University) Bibliothèque Royale de Belgique (Royal Library of Belgium).

Sveucˇilište J.J. Strossmayera (University of Osijek).

Državni Arhiv u Rijeci (State Archive in Rijeka).

Akademie Veˇd Cˇeské Republiky (Academy of Sciences).

Det Kongelige Bibliotek (The Royal Library) Københavns Universitet (University of Copenhagen).

Eesti Rahvusraamatukogu (National Library of Estonia).

Tallinna Ülikool (Tallinn University).

Bibliothèque Mazarine (Mazarine Library).

Bibliothèque nationale de France (National Library of France).

Herzog August Bibliothek (Herzog August Library).

National Bank Of Greece Cultural Foundation.

Foundation for Research and Technology.

Coláiste na Tríonóide, Baile Átha Cliath (Trinity College Dublin).

Biblioteca Nazionale Marciana (National Library of St Mark’s).

Istituto centrale per il restauro e la conservazione del patrimonio archivistico e librario (Central Institute for the Restoration and Conservation of Archives and Libraries).

Università degli Studi di Catania (University of Siracusa).

Biblioteca Nazionale Centrale di Firenze (National Library Florence).

Heritage Malta.

Koninklijke Bibliotheek (The Royal Library).

Universiteit van Amsterdam (Amsterdam University).

Universiteit Leiden (Leiden University).

Nasjonalbiblioteket (National Library of Norway).

Universitetsbiblioteket i Bergen (Bergen University Library).

Norges Teknisk-Naturvitenskapelige Universitet (Norwegian University of Science and Technology).

Polskie Stowarzyszenie Sztuki Orientu (Polish Society of Oriental Art).

Biblioteka Narodowa (The National Library).

Arhiv Republike Slovenije (Archive of the Republic of Slovenia).

Patrimonio Nacional, Real Biblioteca (Real Library).

Universidad Complutense de Madrid (Complutense University of Madrid).

Kungl biblioteket (National Library of Sweden).

Uppsala Universitetsbibliotek (Uppsala University Library).

Lunds Universitet (University of Lund).

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The Centre for Drawing: A Network 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.

About The Centre for Drawing is led by Professor Stephen Farthing, the Rootstein Hopkins Research Professor of Drawing, University 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.

Background The centre was originally founded in 2000 at Wimbledon College of Art: it then became a University of the Arts London research centre in 2008. By 2011 the centre had developed a secondary 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 organized each year. http://thecentrefordrawing.myblog.arts. ac.uk Foreground The conference Drawing Out: 2012 took place in March 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 transdisciplinary approaches to drawing.

The conference explored ways in which drawing functions as a part of literacy with particular reference to: drawing and notation; drawing as writing; drawing – recording; and discovery.

A new Centre for Drawing will be launched in 2012–13 at Wimbledon College of Art. This new centre will support the role of drawing across all CCW disciplines, encouraging innovative teaching and learning in drawing. It will also lead on drawing research, including drawing and science, technology, engineering and maths (STEM), and will bring drawing conferences and symposia to CCW. The Thinking Through Drawing group held the symposium Drawing in STEAM at Wimbledon College of Art in September 2012.

This group includes drawing researchers from UAL, The Teachers College Columbia University, and Loughborough University.

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Textiles Environment Design (TED)/Textile Futures Research Centre (TFRC) and industry sectors. A unique aspect of TED’s TEN is the way in which it can help designers in industry combine and apply the The Textile Futures Research Centre has strategies, using ‘layered thinking’. There research groups at Chelsea College of Art is great potential to offer creative direction to and Design (CCW) and Central Saint Martins a range of companies in partnership with the College of Art and Design (CSM). A common TED team. theme driving the various research projects Key factors in developing research have within TFRC is the use of ‘textile practice’ to been the involvement of PhD students and enable a sustainable future in environmental, the inte­gration of research into the teaching pro­grammes for Textile Design at BA and social and economic contexts. Projects MA level. Students who have participated in range from the development of design led research and enterprise developments have strategies, tools and methodologies, to design-led tech­nology and science innovation gained a deeper understanding of the subject projects. and have been able to make a creative The Textiles Environment Design (TED) contribution. The application of sustainable plat­form is based at CCW. For the last ten thinking to other disciplines across CCW is years, it has been developing a set of one of the current subjects of the TED team’s practice-based sustainable design strategies activities. that assist designers in creating textiles A research ‘Focus Group’ of MA Textile with a reduced impact on the environment. students at CCW and pilot workshops in a ‘Creative Transition Project’ for CCW Gradu­ These strategies have, over time, evolved ate School delivered by the TED team have into TED’s TEN, a design toolbox, which aims to promote inter­connected design thinking together helped in the development of a enabling designers to navigate the cross-discipline group in Konstfack University complexity of sustain­ability. By working in College of Arts, Crafts and Design, in the ‘knowing–doing gap’, the toolbox offers Stockholm, Sweden. real ways for practi­tioners to design www.tedresearch.net sustainable products.

Through TFRC, TED researchers have recently collaborated with US-based VF Cor­ poration, the world’s largest clothing group, to offer product development and exhibition curation. Research and training projects are also in development through the Swedish Govern­ment’s MISTRA programme and a number of international companies, including H&M in Sweden.

The process of refining, testing and applying the TEN strategies is continuing, in particular to address other design disciplines Director: Rebecca Earley (CCW) Deputy Director: Carole Collet (CSM)

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Bright Publications

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Bright Editorial Board Professor Chris Wainwright Pro Vice Chancellor, Camberwell, Chelsea, Wimbledon Colleges David Dibosa Bright Series Editor, Camberwell, Chelsea, Wimbledon Colleges Professor David Garcia Dean of Graduate School Camberwell, Chelsea, Wimbledon Colleges Professor Stephen Farthing Rootstein Hopkins Chair of Drawing, University of the Arts London Dr Malcolm Quinn Associate Dean of Research, Camberwell, Chelsea, Wimbledon Colleges Hans Hedberg Head of Research and Photography, Valand Academy, University of Gothenberg Paulus M. Dreibholz, Head of Atelier Dreibholz

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PARADE: Public Modes of Assembly and Forms of Address Critical Practice (CP) is a cluster of artists, researchers, academics and others supported by the CCW Gradu­ate School. Initiated in 2005, CP explores new models of creative practice and seeks to engage these models in appropriate public forums, both nationally and 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 distri­butive media, while actively seeking to collaborate.

CP has a long standing interest in art, and public goods, spaces, services and know­ ledge, and has generated a track record of producing original, parti­cipatory events.

Chelsea College of Art and Design has a large, contemporary courtyard at its heart: the beautiful Rootstein Hopkins Parade Ground. We collaborated with Polish curator Kuba Szreder to develop a project 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 land­ mark 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)

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

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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 (Univer­sity 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 under­lying choices of what has been considered important to preserve and the methods used in conserving it. By uncovering hidden narratives embedded in the arte­facts, new avenues of interpretation have opened up, 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 Professor Eileen Hogan)

Bright 3: The Currency of Art Editorial team: Professor Orianna Baddeley, Professor Jane Collins, Professor Stephen Farthing, Becky Green, Professor Eileen Hogan Specifications: 80 pages, softback (Swiss brochure), 4 colours throughout ISBN: 978-0-9558628-5-4

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Relay: Circulating Ideas … Working with Masters students from three courses (MA Art Theory, MA Curating and MRes Arts Practice), we set up a series of relay teams, with each instructed to pass on a message – an image, an object, a citation, a viewpoint – between team members, one-toone-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 preoccu­pations 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 inter­ruption. In Spaces and Spectators, the message gets spectacular­ ized. The move is less along the trajectory of Baudrillard and Virilio, with their emphasis on the technology of the screen. Rather, with their attention to the materi­ality of paper, the action of turning pages and the spatiality of folds, Spaces and Spectators brings us back to the scene of reading and the techno­logy of the book. Art and Society opens the text out into the specificities of our contemporary geopolitical context. West Asia, North Africa, Southern Europe and the global natural environment become the centre for an email relay that demonstrates the way that intelli­ gence-gathering is based on the topography of messages sent. Art and Society reminds us that the question of ‘who is sending messages to whom?’ remains the basis of intelligence-gathering. It provides us with the space to adjust our perspectives based on the information that we receive. Recreat­ing

Histories brings us back to the letter – the text of history and the words of memoriali­zation.

The way that place and memory sit alongside one another brings the series of relayed messages to an end. […]

(Excerpt from ‘Don’t Shoot the Messenger: An Introduction to Relay’ by Dr David Dibosa) Bright 5: Relay – Circulating Ideas, March–May 2011 Editor in Chief: Prof. Chris Wainwright Editorial team: Dr Eleanor Bowen, Dr David Dibosa, Becky Green, Bruno Ceschel, Dr Isobel Whitelegg Specifications: 96 pages, softback (exposed binding), 4 colours throughout ISBN: 978-0-9558628-6-1

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The Good Drawing A lot of drawing requires careful observation, measuring and plotting. While the resulting combination of lines, smudges and erasures might resemble something of the world, it also evidences the drawing’s own creation.

Each mark is a decision to select a bit of information and represent it in a particular way, but what determines these choices?

On reflection, it becomes clear that drawing is really a process of translation: from the three-dimensional world into line; from an idea to a mark; through the eyes of a parti­ cular individual, at a specific moment in time. For the maker, questioning this set of conditions pro­vides an intellectual framework for drawing; but this framework does not explain why a drawing is good for the viewer.

The question, ‘What is a good drawing?’ provided a platform for a day of discussion between eminent artists and art historians, and an opportunity for those present to con­ sider drawing’s place within current artistic practice and art education. The National Gallery, with its collections of Western Euro­ pean painting and a robust educational programme, was an ideal venue to engage in this dialogue and examine how the practices of the past necessarily inform the present.

The occasion brought together an invited audience of BA, MA and PhD students and researchers associated with the Centre for Drawing at UAL, the associate artist of the National Gallery of London and delegates of Drawing Out 2012, the second in a series of cross-disciplinary drawing conferences co‑organized by UAL and Royal Melbourne Institute of Techno­logy (RMIT), Australia.

A small but varied selection of drawings provided focus for our discussion, with debate tending to engage with on the set of conditions that determined each drawing’s creation. In asking the question, ‘What is a

good drawing?’, finding consensus seemed far less important than did recognizing what the overall conversation was saying about drawing’s place in the world today.

This publication provides a record of some of the discussion that took place on 28th March 2012 at the National Gallery, London.

(Introduction) Bright 7: The Good Drawing Editors: Stephen Farthing, Kelly Chorpening, Colin Wiggins Series Editor: David Dibosa Editorial Assistant: Laura Lanceley Specifications: 100 pages, hardback (half-linen), 4 colours throughout ISBN: 978-1-908339-01-0

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Expedition The research and production of new knowledge is a conventional role assigned to the Academy. Expedition invites us to reconsider this role. There is no call here to excavate new material, to explore new territory, or to further extend the frontiers of knowledge. Rather, the tendency is more towards a rediscovery and recontextualisa­ tion of what we already experience and witness, much of which is on our doorsteps.

‘Economic’ and ‘crisis’ are two familiar terms that have dominated the second decade of the twenty-first century, and that have given rise to shifts in political discourse fuelling concerns for artists, environmen­ talists, social scientists and anthropologists alike. Add to this an increasing public awareness of climate change brought about by human activity and in particular an escalation in resource extraction to fuel our economically orien­ted greed and desire for material wealth. If you couple this with (at best) a slow and ineffective agenda of political action, it becomes clear that we are now entering into a critical era that will significantly shape the way in which future generations live their lives.

On the one hand, politicians and some analyst call for a new spirit of enterprise, encouraging the profit-oriented development of new markets and further exploitation of the earth’s resources in order to feed them.

Think Canada’s exit from the Durban Con­ ference; think the sifting of the oil tar sands of Northern Alberta and the queue of multinational oil companies eager to exploit the arctic oil and gas resources that are now accessible due to the melting sea ice, caused ironically as a result of the burning of fossil fuels. On the other hand, the old adage that crisis gives rise to opportunity is cited in the rethinking of attitudes towards the

Amazonian rainforest with reforestation initiatives replacing defor­est­ation as a central driver for rural sustenance in the northern states of Brazil. Amidst all this repositioning, shifting perspectives, and moral and ethical questioning, what role is there for the cul­ tural practices of artists and designers to influence debate, to raise consciousness and to alter opinion in this volatile terrain? […]

(Excerpt from the Introduction by Professor Chris Wainwright) Bright 9: Expedition Editor: Chris Wainwright Series Editor: David Dibosa Associate Editor: Hannah Bird Editorial Assistant: Laura Lanceley Specifications: 158 pages, hardback (half-linen) ISBN: 978-1-908339-03-4

CCW Graduate School Directory 2012/13 Editor: Chris Wainwright Series Editor: David Dibosa Editorial Assistant: Laura Lanceley Copy Editor: Colette Meacher Design: Atelier Dreibholz, Paulus M. Dreibholz and Felicitas Grabner Printing: Holzhausen Druck GmbH Published by: CCW Graduate School 16 John Islip, London, SW1P 4JU This title was published as part of the Bright series of publications produced by CCW. ISBN: 9 7 8 - 1- 908 3 3 9 -02 -7 Š 2012, CCW Graduate School and contributors

Bright 8

Graduate School Directory 2012/13

Graduate School — — Directory 2012/13

ISBN 978-1-908339-02-7

ISBN 978-1-908339-02-7

9 781908 339027

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