Senior Lecturer in Painting on BA (Hons) and MA IVM at LCC, Dr Charley Peters, has written an essay about the artist Jean Spencer, which will be published in Turps Banana Painting Magazine #18, launched on 22nd July 2017. The text is based on a collection of Jean Spencer’s own notes, correspondence, exhibition proposals and colour studies, which are held at Chelsea College of Arts Library.
Acclaimed artist and UAL Fine Art Professor Charlotte Hodes is exhibiting new work this summer, including an ambitious twelve-metre frieze commissioned specially by Wolverhampton Art Gallery.
Remember Me: Charlotte Hodes Papercuts and Ceramics opened 3 June and runs until 3 September 2017.
Remember Me is a solo exhibition of intricate papercuts and ceramic work. The central wall installation features over 120 individual ceramic plates arranged to create a single image that combines elegant historic patterns with contemporary imagery. To be read from left to right, a female figure wanders across the ware through a landscape of vessels and pattern.
This visually powerful new work demonstrates Charlotte Hodes’ playful yet challenging approach to the aesthetic potential of domestic objects, both past and present. Central to her work is an exchange between craft and fine art practice. Hodes has been a prominent figure within this debate, freely exploring craft led processes and drawing on the rich iconography of the decorative arts.
Remember Me builds on Hodes’ prize winning work for the Jerwood Drawing Prize in 2006, her solo exhibition Fragmented Images at The Wallace Collection in 2007, her participation in Glasstress: White Light White Heat exhibitions at both the Venice Biennial 2013 and The Wallace Collection in 2013 and her solo exhibition Dressed in Pattern at jaggedart and Circusin 2016.
Councillor John Reynolds, cabinet member for City Economy, said: “The gallery has always been a great champion of new art work and we are delighted that Charlotte has agreed to work with us on this exhibition.”
The exhibition will also feature Hodes’ major table installation, Spode Trees and Dressed Silhouettes, first shown at the British Ceramics Biennial in 2015 (supported by an ACE grant) as well as three series of her signature papercuts. This includes a selection of papercuts and plates from her series Grammar of Ornament, made in response to Owen Jones’ 1856 publication of the same name. There will also be an illustrated catalogue to accompany the exhibition, with an essay by Observer writer Kate Kellaway.
A cross-continental graphic design campaign to build awareness of malaria
April the 25th was World Malaria Day. To help to raise awareness of the importance of continuing to battle against Malaria we spoke to London College of Communication’s Associate Dean of Design, Dr Iain Macdonald about a recent graphic co-design project with the intention of using graphic design skills to help in the fight against malaria in East Africa.
Iain has recently joined LCC having previously been Associate Professor, Head of Design Photography, Advertising and Programme Leader of MSc Creative Advertising at Edinburgh Napier University, where he worked alongside fellow Principal Investigator for the project, Myrna MacLeod, Programme Leader BDes (Hons) Graphic Design at Edinburgh Napier University.
There Iain taught across both the award winning Creative Advertising and BDes (Hons) and MA Graphic Design programmes, drawing on his professional expertise in motion graphic design and directing commercials.
The objective of the Malaria awareness & prevention project was to design different methods of communication that would improve malaria education in East Africa. The campaign aimed to cover several different media and user experiences, to be co-designed by a research team from Edinburgh Napier University, and local people in three communities in Nampula Province, Northern Mozambique. Once designed, tested and proven these could be made available to other NGO and government organisations for wider distribution and implementation in the country and continental region.
Our first project had been inspired by a humanist and socially conscious perspective that was originally set out by Ken Garland’s ‘First Things First Manifesto’ in 1964. The following study wouldsimilarly be framed within an ethical practice in graphic design, but with a sharpened focus on co-design that would embody cultural respect and knowledge, and the subsequent emergence of design for social good, which ‘expresses purpose’, and is ‘empathetic’.
‘If design-based social change is going to be effective and lasting, it must not be dependent upon the designer; rather, it must be rooted in empowerment’ (Janzer & Weinstein 2014).
Using the principles of co-design we took four graphic design students to Mozambique to participate in a practice-led research project with local youth groups. The focus was on promoting malaria awareness and preventative education in an area of Africa where the disease is endemic despite large interventions from NGOs. This study examines the process of the co-design project and how it responded to the challenges of a post-colonial environment to deliver a method of communication that was valid and participatory.
We held user testing conversations in the streets of Ilha, and with various other leading stakeholders including, the local school, radio station journalists and traditional healers in Mossuril.
The finalised designs were then illustrated by two final year BDes(hons) Graphic Design students at Edinburgh Napier University.
Connect with the project on Instagram
Director of the MA Documentary Film at the LondonCollege of Communication, Pratap Rughani has reported on the 2017 Professoriate Symposium“Our Research In The World” (hosted at Chelsea College of Art, May 24th) Here’s his outline of the event:
“Our Research In The World” was built around the work of Professor Roger Kneebone in evidencing how making and thinking are integrated as ‘two sides of the same coin’ (distilled in his recent article in Nature, Vol 542, Feb 2017, Discovery Through Doing).
His presentation navigated the interdisciplinary world of arts-science embodied in initiatives that bring together too-often separated disciplines by connecting each to their haptic realities. In his presentation surgeons and tailors stitch alongside each other as do varied artists and medics whose specialisms were juxtaposed to reveal their analogues.
Professor Kneebone’s conviction that “correspondence underlies apparent difference; when specifics are blurred, broader themes come into focus” built a frame through which many distinct art and science disciplines could look more openly for resonance with each others’ practice. Central to this is how a surgeon’s finger, feeling around an organ in surgery for example is part of her/his brain in understanding a condition and how to respond. At that point of union of body and mind, language can break down and therefore what is obvious to the practitioner can be strangely effaced; we don’t always then name (or value) to ourselves or professional communities, what our mind-bodies do.
In film terms, it made me think of shooting for a camera person is a conversation between what the eye sees and the hand delivers in framing and camera movement. Or how the process of editing creates a kind of dance of cuts from wider shots to close-ups, revealing different ways of seeing. The challenge in the Academy is that in close-up detail, research can disappear into its own disciplinary focus and miss the embedded connections that (in reality) connect so much of what we do to the surrounding world.
If that sounds like an abstract concern, the gauntlet thrown here insists on naming and reshaping the structuring influence and high walls of disciplinary boundaries. Disciplinary boundaries are understandable in developing an initial depth but can limit how each of us progress – whether in arts or science. As Professor Baddeley quoted in her opening remarks, Professor Kneebone suggests (in Nature article quoted) that each discipline holds a key to reconnecting a more holistic vision and with it, more socially relevant research: “Science and medicine can develop a seductive self-sufficiency, a beliefthat everything that must be learned can be found in their specialized worlds.Engaging directly with the practice of craftspeople and performers reveals another way.”
A panel of five UAL presenters showed their distinct ways revealing a richer UAL nexus of inter-disciplinary insight. Mark Fairnington (CCW), Professor Carolyn Mair (LCF), Dr Caterina Albano (CSM), Dr Veronika Kapsali (LCF) and Sal Anderson (LCC) through disparate practices from art history to film; painting to fashion psychology, via microbiological design, explored how their practices and reflections seek inter-connection, a theme that resonated in two periods of debate.
Finding ways of surfacing these connections at a time when the arts continue to struggle for recognition in national research priorities felt like a significant emphasis that should inform the necessary broadening of STEM subjects to recognise the centrality of arts and design. A challenge that UAL is well-placed to take up.
– Dr Pratap Rughani, Professoriate co-chair.
Dr Caterina Albano – Reader Visual Culture and Science
The exhibition as an experiment
First used by the European avant-gardes, the analogy of the exhibition as an experiment became paradigmatic of the curatorial ethos of the newly founded Museum of Modern Art in New York
in the 1930s. Today, it suggests innovative approaches in curating that challenge institutional
practices. But how does such analogy mobilize twentieth scientific discourses of art and science?
Far from a stable concept, the experiment itself has been imbued with different connotations over time pointing to unacknowledged synergies between the two fields. The presentation will consider such relations questioning the modes of knowledge production and issues of presentness, authority and legitimacy that the analogy of the exhibition as an experiment inflects.
Sal Anderson – Reader in Film
Psychiatry and the subjective: a neuropsychological perspective
The presentation addresses the objective-subjective dichotomy at the heart of contemporary medicine. An analysis of three case studies of films directed and/or produced by Sal Anderson will be used to illustrate mechanisms of cinematic language in conveying the subjective experience of individuals with neurological and mental health conditions. It attempts to draw attention to the value of the arts in a science-centric medical profession.
Mark Fairnington – Reader in Painting
The Perfect Specimen
In this presentation, Mark Fairnington will talk about how his research and practice has examined the relationship between the idea of the specimen as the representative or the type and the depiction of an individual, with all the individual’s peculiarities and idiosyncrasies. Paintings that resulted from research with museum collections including projects with the Natural History Museum, the Horniman Museum and the Wellcome Collection will be reflected upon in the context of concepts of portraiture.
Dr Veronika Kapsali – Reader Materials Technology and Design
Garments that Self Assemble: how biology can inspire a new design-led space for future textiles
This research recognizes the advantages of biomimetic principles for sustainable, low energy, advance functionality design strategies and considers textile manufacturing processes as a platform for transfer of functional mechanisms from biology into fibrous man-made structures. This approach presents a multitude of making opportunities using combinations of standard raw materials (chemicals, fibers, yarns, textiles) and methods (knit, print, weave, nonwoven and finishing). The work sets out to underpin design at the intersection of biomimetic material science and technical textiles by developing novel design-led theoretical and practical frameworks for future research.
Professor Roger Kneebone – Professor of Surgical Education and Engagement Science
In this presentation Roger Kneebone explores parallels between art, surgery and experimental bioscience in terms of craftsmanship, performance and embodied knowing. Drawing on his extensive collaborations with experts outside medicine and his longstanding interest in physical simulation, Roger shows how insights from apparently unconnected domains of expertise can reveal correspondences which lead to reciprocal illumination.
Professor Carolyn Mair – Reader in Psychology, Course leader MA Psychology for Fashion Professionals and MSc Applied Psychology
The reciprocal relationship between perceptions of appearance and identity
Research in Psychological finds that our thoughts, feelings, motives and actions depend on who we think we are: our self-concepts and identity. This presentation provides an introduction to current understanding of self and identity from a psychological perspective with a focus on the reciprocal relationship between perceptions of appearance and identity.
Wednesday 21 June 2017
1pm to 3pm
Please join us for an open editorial workshop with David Teh, discussing the ninth book in Afterall’s Exhibition Histories series, which will take Chiang Mai Social Installation (1992–98) as a focus for critical histories of contemporary art in Southeast Asia.
This event follows up on a conference co-convened by David Teh, Afterall and the University of Melbourne in November 2016: ‘Regions of the Contemporary – Transnational Art Festivals and Exhibitions in 1990s Southeast Asia’.
David Teh is a curator and researcher based at the National University of Singapore. His essays have appeared in Afterall, Third Text, ARTMargins and Theory, Culture and Society, and his book Thai Art: Currencies of the Contemporary was published this year by MIT Press. His most recent curatorial project, Misfits: Pages from a loose-leaf modernity, is showing at the Haus der Kulturen der Welt, Berlin until 3 July.
This event is convened by the Exhibitions: Histories, Practices research group at Central Saint Martins and is open to all. If you would like to come along please email Lucy Steeds: firstname.lastname@example.org
Room KX M306
Central Saint Martins
University of the Arts London
1 Granary Square
London N1C 4AA
Journal of Visual Culture, Volume 16, Issue 1, April 2017 .
Arguably the most discussed piece of art criticism published since the 1960s, ‘Art and Objecthood’ written by American art historian (and poet) Michael Fried (1939-), and published in the June 1967 issue of Artforum magazine, has been variously described as ‘world dividing doxology’ (Caroline Jones), and ‘a theoretical wedge’ (Rosalind Krauss). What is clear is that the ideas it addresses are remarkably durable. ‘Art and Objecthood’ comments upon and agonizes over what is perceived as the major paradigm shift between modernism and postmodernism, in art and in wider cultural terms. If the legacy of the 1960s is multi-faceted, one key part is this: the so-called autonomous art object was challenged and replaced by contextual or relational works and meanings. By contrast, Fried’s essay argues in very strong terms that art ought to require specialized tools—critical, historical and aesthetic—and that these are worth fighting for.
The contributors to this issue of Journal of Visual Culture analyze the impact of ‘Art and Objecthood’ and assess its divergent traces rather than its canonical receptions. The articles consider its influence internationally within art criticism, philosophy, film studies, theatre, international modernism, new media, and art education.
Alison Green and Joanne Morra
Introduction: 50 Years of ‘Art and Objecthood’: Traces, Impact, Critique
‘Art and Objecthood,’ Philosophy
From Black Square to Room Square
Phoebe von Held
Brecht’s Anti-Theatricality? Reflections on Brecht’s Place in Michael Fried’s Conceptual Framework
Failure to Engage: Art Criticism in the Age of Simulacrum
On Use: Art Education and Psychoanalysis
Fried avec Debord: Theatricality by Default
‘A Supreme Fiction’: Michael Fried and Art Criticism
An ‘Automatic Escape’ or a ‘Beautiful Question’? Cinema and Experimental Film after Michael Fried’s ‘Art and Objecthood’
This event was kindly supported by: CSM Art Programme, Research, and Culture and Enterprise Programme
How is memory formed and reformed? How do pieces of history get lost? What happens when we only hear one side of a story or when the sonic traces of other perspectives have disappeared?
Cathy Lane works with the sounding out of individual and collective memories that have been overlooked or muted. These may relate to place, family, labour or aspects of social, cultural and political life.
Professor Cathy Lane is a composer, sound artist and academic. She is a Professor of Sound Arts at University of the Arts London and co-director of CRiSAP (Creative Research in Sound Arts Practice).
Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. Aspects of her creative practice have developed out of these interests and include composition and installation-based work. She also writes and lectures on these and related subjects as well as collaborating with choreographers, filmmakers, visual artists and other musicians.
As the University continues to maintain and develop its profile as a global leader in arts research, a series of Professorial Platform lectures that was first launched in 2008.
The Platforms are an opportunity for University colleagues and associates, as well as invited members of the public, to learn more about the research was undertaken in the University.
Read the Soundings and Re-Sounding: a theme and variations booklet to accompany Professorial Platform Lecture at UAL London College of Communication.
If you would like to watch the full recording of the Professorial Platform of Cathy Lane filmed on the 27 Apr 2017, please follow the YouTube link below.
UAL Research is responsible for a diverse schedule of events. Our researchers are newsworthy subjects, gaining national and international attention for their work, from exhibitions to lecture series’ and summits. This year, there were 93 entries to the Research Fortnight calendar, with over half of these being open to the public via the UAL home page ‘ Upcoming UAL Events‘.
Over one and a half thousand people attended the mixture of rsvp events and exhibitions during the two-week programme.
The annual research fortnight events at the University of the Arts London offer staff from across our different subject areas and colleges a chance to get to know more about what their colleagues are researching. Academics, support staff and PhD students all contribute their time to a rich programme of activities that we hope will encourage new debates and collaborations.
Professor Oriana Baddeley, UAL Dean of Research.
Research Fortnight was launched by the Debate ‘Art in Polarised Times’, Introductions by Professor Francis Corner OBE, Vice-Chancellor Nigel Carrington, Professor Jeremy Till, Pro-Vice Chancellor for Research and Head of Central Saint Martins, chaired the debate.
Along with the following panel members:
Professor Sonia Boyce
Professor Robert Eaglestone
Professor William Raban
Hosted at the London College of Fashion, the debate was in response to recent events both in Europe and America, the UAL Professoriate asks that we consider how our disciplines might respond to these changing landscapes, and what impact this quickly changing world might have on academic and creative integrity and practice.
In case you missed the launch to Research Fortnight 2017, here’s the recording:
Naomi Bailey-Cooper is currently a PhD student at the London College of Fashion, University of the Arts London and recipient of the Victoria & Albert Museum / London College of Fashion, Artscom PhD Award. With a background in Fashion Design, her practice-based research explores how embellishment could deliver an alternative to the decorative notion of exotic animal materials. In addition, she works as a part-time Projects Assistant at the Innovation Insights Hub, University of the Arts London, who run interdisciplinary design projects, executive education courses in design thinking and various keynote talks and events. Prior to this, Naomi has worked independently on corporate research projects for companies varying from Mishcon de Reya to Burberry, as a freelance designer/maker and has experience starting up her own enterprise which received European funding and was based at Makerversity, Somerset House.
The Art for the Environment International Artist Residency Programme (AER) provides UAL graduates with the exceptional opportunity to apply for short residencies at one of our internationally renowned host institutions, to explore concerns that define the 21st century – biodiversity, environmental sustainability, social economy, and human rights. Through research, studio practice, critiques and mentoring the AER programme is designed to envision a world of tomorrow; to imagine and create work that challenges how we interact with the environment and each other.
The programme is coordinated by LABVERDE, with the aim to foster the hybridity of expressions, targeted toward adventurous individuals and nature lovers, eager to reflect on nature and landscape. The scheme will promote an intensive experience in the Amazon rainforest aiming to explore the connection between science, art and the natural environment.
The LABVERDE program is a 10-days Art Immersion Program in the Brazilian Amazon rainforest for art, nature andscience lovers.
The core of the artistic research will be based on issues related to the Amazon environment as well as its importance for the planet’s ecological balance. The opportunity to develop innovative studies in the cultural field will be mediated by a high qualified team of specialists within the fields of arts, humanities, biology, ecology and natural science.
The journey is set to take place in two different locations enabling a diverse scale and perspective of the amazon rainforest. Participants will be lodged at the boat and at the scientific headquarters of Adolpho Ducke Reserve administrated by The National Institute of Amazonian Research (INPA).
On behalf of UAL, we wish Naomi the best of luck and congratulations. For a full programme of expeditions, talks, meetings and workshops please visit the LABVERDE website
The AER Team:
- Professor Lucy Orta AER Founder, UAL Chair of Art and the Environment, Centre for Sustainable Fashion
- Camilla Palestra AER Associate Curator, Centre for Sustainable Fashion
- Rachael Daniels Postgraduate Community and Event Manager
University of the Arts London join forces with research institutions King’s College London and London School of Economics and Political Science for a major interdisciplinary collaborative project that aims to improve our understanding of a major current and future global security challenge.
The team consists of investigators (Dr Rachel Kerr and Professor James Gow of the Department of War Studies at King’s College London, Dr Denisa Kostovicova of the Department of Government, London School of Economics and Political Science, and Dr Paul Lowe of London College of Communication, University of the Arts London and non-academic collaborators in its design, production and delivery, commissioning artists in a variety of media to create and develop practices and artifacts.
This interdisciplinary project aims to innovatively investigate post-conflict reconciliation to address the major gap between aspects of justice and the creative arts.
They do so by combining history, conflict resolution methodologies, art and creative practice, and both qualitative and quantitative social sciences. They plan to do this in three strands:
- An historical investigation of the concept and practice of reconciliation through time and in different geographical regions.
- Interrogation of both the past use of art and related media in reconciliation initiatives and the potential of artistic practices and artefacts to play a role in inter-communal conflict resolution, remembrance, forgetting and forgiving.
- Comparative empirical research ‘mapping’ reconciliation activities across countries and over time and analyzing discourses of reconciliation, applying computer-assisted quantitative and qualitative text analysis.
The research is aimed to benefit broad constituencies of interest, both academic and practitioner, in both public and private spheres.
The research is funded through the Large Grant scheme of the Arts and Humanities Research Council (AHRC) under the Conflict Theme of the Partnership for Conflict, Crime and Security Research (PaCCS) and through the Global Challenges Research Fund (GCRF)
- Paul is a member of Photography and the Archive Research Centre (PARC), find out more http://www.arts.ac.uk/research/ual-research-centres/parc/
- Find out more about Paul’s research at UAL http://ualresearchonline.arts.ac.uk/view/creators/Lowe=3APaul=3A=3A.html
- Read more about Paul Lowe with a link to his profile: http://www.arts.ac.uk/research/ual-staff-researchers/a-z/paul-lowe/
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