Items where Year is 2015

In 2015 Ellison was invited by fashion brand owner ‘Cherchbi’ Adam Atkinson to publish a book about Herdwick wool a raw material of the rug sacks Cherchbi produced.

The subsequent book, Herdwick Common was published under the brand publishing imprint, as a 98-page photo book with accompanying essay from acclaimed author, James Rebanks,
(The Shepherd's Life: A Tale of the Lake District). When reading into Herdwick sheep, something I discovered was ‘heft’ - A place where the sheep were rooted to by birth and returned to instinctively. This is something author James Rebanks has written about in his publication ‘A Shepherds Life’ a retelling of life spent as a farmer near Penrith. His book content and title inspired by W.H. Hudson ‘A Shepherds Life’ tells a passionate account of the up and downs of growing up as a farmer.

Research Imperatives

Ellison explores the cultural and symbolic significance of sheep on the region of Cumbria. The oldest reference to sheep kept in the Lake District is in documents dating from the 13th Century when the Cistercian monks of Furness Abbey near Barrow and Fountains Abbey near York farmed large areas. The documents simply make reference to the use of the short, coarse hair of the sheep for their habits. There is no mention of Herdwick although short, coarse hair may be a clue to one of the characteristics of an early hill breed.

Ellison began by researching the name ‘Herdwick', thought to derive from Herdvyck, Norse for ‘sheep pasture’. This has led some to believe that the breed was, maybe, brought into the country in the 8th and 9th centuries by Norse invaders from what are modern Denmark, western Sweden and Norway. More likely though, they were named Herdwick simply because most Lake District farms had land for sheep and were referred to as ‘herdwicks’. So the sheep adopted their name from the farms. The breed seems to have changed somewhat over the past two centuries to what we accept today as the Herdwick. Drawings and prints from the 19th century seem to indicate a taller and less stocky version of what we have in the 21st
century.

The book brings together an essay by James Rebanks, a story told from within alongside of series of photographic portraits that tie together this ancient rural livelihood.

This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade.

In the year which marked the centenary of the start of the First World War, a series of creative projects in Bristol considered past, contemporary and continuing conflicts. A unique record of these exhibitions and events has now been captured for this book.

Under the generic title Back From the Front: Art, Memory and the Aftermath of War the projects consisted of five overlapping exhibitions staged at the Royal West of England Academy in Bristol, UK - a curated show of work by John and Paul Nash; a unique gathering of work by contemporary artists examining war and peace under the title Shock and Awe: Contemporary Artists at War and Peace, and a sequence of exhibitions united under the word Re-membering, which were a series of commissions funded by the Arts Council England and co-ordinated by the Bristol Cultural Development Partnership and Bristol 2014. A fifth exhibition The Death of Nature gave a showcase to the recent paintings of Michael Porter RWA.

This chapter considers objects as powerful pedagogic tools and examines how they can facilitate student-centred, experiential and active learning. This study reports key research findings, based on students’ critical and reflective evaluation of their object-based learning, and provides evidence that objects provide active learning experiences that can engage learners, enrich learning and energise teaching.

The study considers how students develop their engagement with objects and how they can explore individual preferences through the appraisal of objects’ form and function. The discussion considers how mundane objects can generate valuable and memorable pedagogic experiences, notably when studied away from the museum and placed in the context of the students’ classroom. Objects can present complex, challenging conundrums which students, through their interrogation of examples, can interpret, take meaning and make sense of. Students’ hands-on engagement with objects can inform and inspire their thinking and design making.

In particular the toilet brush - a necessary prosaic design – is considered as a valuable pedagogic implement: it can encourage students to critically analyse its social, historical, cultural, economic and technological relevance and worth. The discussion evidences that objects can generate deep learning opportunities as items stimulate curiosity and critical and analytical investigation, debate and evaluation. This chapter explores the challenges and nuances of using such learning objects and considers the reasons why certain designs prove to be successful learning aids and are popular with both learners and tutors. This study presents a specific pedagogic approach that offers potential for cross-discipline adoption and adaptation.

This paper addresses the contemporary and simultaneous rise of glitch art alongside the contemporary turn to craft within the illustrative field. Starting from an analysis of Menkman's 2011 The Glitch Moment(um), it seeks to understand the use of glitches and errors within the illustrators visual vocabulary, through aesthetic and symbolic interpretation of the glitch moment. Drawing upon the concept of the 'glitch-like' as a frequent description of the illustrator's relationship to the error, it argues that the professional illustrator is frequently constrained in their use of pure glitches within their working process due to a number of factors; and instead utilises the error initially through experimental appropriation, and then through normalisation and finally incorporation into the toolbox of the artist. However the paper also recognises the increasing prevalence and (literal) encoding of glitch-like readymades within modern software and associated artistic tools.

The paper proposes that the digital glitch in contemporary illustration exists as an attempt to encode and render the materiality of the digital process and digital product visible, in much the same way that the rise of traditional craft and imperfection in other areas of illustration practice seek to make visible evidence of the artist's hand and the materiality of working processes. The paper seeks to address the inherent contradiction that exists between the notion of craftsmanship and error, and suggests that disruption of the flow of work offers a valuable intervention that enables us to evaluate and re-interpret practices, both as maker, and reader of visual texts.

The scale and pace of hand-stitching match those of the body, grounding cognitive and emotional experiences of solitude or sociality in a tangible process. The hand–eye–mind coordination required cultivates a distinc- tive form of attention to the self. On the one hand, as a private, contemplative activity, the slow rhythms of hand-stitching allow an individual to carve out time and space for introspective reflection. A collective stitching practice on the other hand, with fragmented tasks of short duration and frequent changes of colour, structures a very different space. In this article I draw on my experiences of joining an embroidery group to explore the simultaneity of social, cultural and physical processes in stitching practices, speech patterns and group dynamics. Finding that embodied knowledge of the craft includes patterns of social and physical interaction – or separation, I propose that hand-stitching practices can suggest alternative ways of thinking about how we create and occupy personal and social spaces.

This article discusses the work of the Japanese photographer Takuma Nakahira at the turn of the 1970s. Nakahira’s practice departed from the candid street photography (seen, for example, at the 1966 exhibition Contemporary Photographers: Towards a Social Landscape in the US), and sought means to not only document but also induce social and political change. Having a strong theoretical grounding in the specific discourses developing in Japan at that time around the notions such as the image (eizō), landscape (fūkei) and materiality (busshitsu), this practice is still significant to much of the present-day concerns with the potential of visual arts to envisage and produce new forms of urban inhabitation.

The presence of students with SpLD (dyslexia) in actor-training institutions is an increasingly common occurrence. This article argues that there is an urgent need to develop inclusive strategies of support in the voice and acting studio that can effectively enable those with dyslexia, while promoting equality of opportunity for realization of potential. Focusing on the author’s research concerning the facilitation of acting students with dyslexia in the areas of reading, speaking and acting of Shakespeare, this article begins by highlighting specific difficulties presented by dyslexia. It goes on to describe a case-study of two acting students with dyslexia and their visually led methods employed in entering Shakespeare’s text. The second workshop section offers a pedagogical strategy for the inclusive voice class when working on Shakespeare, while the third section dedicated to participant three demonstrates how a dyslexic acting student uses a visually led approach in enhancing her articulation of speech and extrapolation of meaning in the text. Underpinning the investigations with analysis and theory, the author concludes by sharing her research findings, seeking to stimulate further discussion within the community of voice and actor- training.

Creation of new interfaces for musical expression can be especially challenging when targeted at end users having complex learning needs. Such users have sensory, cognitive, or physical impairments, which affect their ability to play traditional instruments, leading to a diminished music making experience. Technology can often help bridge the gap between the user and their musical intentions. However, its use in schools introduces additional constraints, such as, affordability, acceptance by staff and acceptable learning time. We developed the SenseEgg system to address these issues.

Paper, table, wall and after was a co-curated international exhibition in 2015 of 108 paper-based artworks by 38 national and international artists, selected by Bowen and Chris Dorsett. It aimed to address ways in which a work of art continues to resonate after its creation and critiqued the disconnected moments in the ‘life story’ of an art object. The exhibition focussed on provisional, but vital, stages of making paper-based artworks and examined fluid open-ended possibilities for their interpretation through public installation. The project contributes to debates on how artworks continue to be ‘created and re-created’ after their completion by the artist through their display, preservation, reproduction and reception.

Artworks that could be folded and unfolded were made by 38 participants and installed across the gallery floor, encouraging intimate audience engagement; the installation thus blurred the boundaries between making and viewing. Visitors were invited to make additional pieces and to move artworks to different positions throughout the exhibition’s duration. The content and material nature of the artworks and the unfixed position of their installation, realised the aims of the project.

Bowen’s work with Dorsett spans several years of collaboration: her contribution to the project is distinctive as it instigated and investigated commissioned contemporary paper-based artworks and innovative methods of installation. Contextualisation by other researchers is reflected through conferences and papers including: (Afterlives, University of York, 2018); interdisciplinary workshops (The Afterlives of Art Works, University of Warwick, 2017) and scholarly articles (The Afterlives of Art, Toby Lichtig, TLS, Sept. 2013).

It is also contextualised within the framework of Bowen’s early and ongoing research interests as evidenced by her paper, Materiality and Transience Through Drawing Practice, delivered at the Fourth Early Modern Symposium, Art and its Afterlives, the Courtauld Institute, London, 2012. This paper explored the correlation between the material transformation of a series of Renaissance prints found frozen in the Arctic and their reinterpretation over five centuries. Paper, table, wall and after built on the symposium’s concerns with how, “art is shaped by its afterlives and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation”. In 2014 key concepts for the exhibition were tested out with co-curator Chris Dorsett, through an installation of paper-based artworks across series of tables and the walls and floor of Gallery North, Northumbria University, Newcastle.

Paper, table, wall and after was informed by Bowen’s ongoing research in the relationship between the materiality of drawing and the ephemeral nature of museum objects on paper, evidenced through collaborative research projects at the V&A, London and Rijksmuseum, Amsterdam (2006-12), and the conception, development and leadership of Paper Studio Northumbria (PSN), (2012-18). PSN provided a unique facility nationally and internationally for the research, teaching and scholarship of paper in relation to fine art, conservation and archiving. To further inform her understanding of the material characteristics of paper, in 2015 Bowen made research field trips across Taiwan to Shigeru Ban’s architectural construction which utilised cardboard tubes, and to handmade paper mills.

The installation took place in The International Exhibition Hall, National Taiwan University of Arts (NTUA) and Yo-Chang Art Museum, Taiwan. November 2015. It was funded by NTUA. Research findings were further disseminated in lectures in the International Exhibition Hall highlighting research themes through round table discussions with Dr Chih Cheng Chen (Principal of NTUA) and Director of Yo-Chang Art Museum, Dr Chun Lan Liu.
The exhibition directly informed the nature of a floor-based installation of works by researchers and students from AUB and associated drawing workshop, Drawing Boundaries, Folding Islands, led by Bowen at the British Pavilion, Venice Architecture Biennale 2018.

Insights were effectively shared through lectures by Bowen at: Shigeru Ban Paper Dome, Puli, Taiwan (2015); Jilin University of Arts, (JUA), Changchun, China (2016); PSN, Northumbria University (2016) and Belfast School of Art (2015), and through a lecture and panel discussion, Jerwood Drawing Prize, AUB Bournemouth, 2017.

The exhibition led to an invitation from JUA, China, for Bowen to create a large-scale solo installation of paper-based and video works in 2016.

Bare Foot Prophet was a programme of practice-led research instigated by a critique of ‘Artists as Prophet: a secret history of modern art 1872-1972’, staged at the Shirn Kunstalle Frankfurt, Germany, which explored the artist prophets of modernising Germany and their envisioning of the political turmoil of their time.
Shepherd’s exhibition in London (May-June 2015) of nine paintings was informed by the German period of modernisation, as well as contemporary crises of environmental regeneration, and a desire that contemporary painting might act as oracle. Consistent with Shepherd’s habitual methodologies, surreal and magical techniques were used to generate imagery, the act of painting was intuitive, motivated at times by a sense of derangement, with a desire that the outcomes might act as clairvoyance, that the future could be seen.
The imagery generated presaged the political and social turmoil that the United Kingdom was to find itself in with the EU referendum called in autumn 2015. The ongoing insights generated from this work ask questions concerning creative foresight, coincidence and intuitive making.
The enquiry was augmented by public gallery discussions between the artist, Dr Gavin Parkinson and gallery director Zavier Ellis, and subsequently by conference presentations and seminars.

This report examines a range of measures used by selected countries to encourage the translation of public sector research. The information and data on which this discussion is based has been largely provided by specially commissioned country reports. These reports have been supplemented with information drawn from a review of the literature.

There is an identified urgent need for Australia to improve the application of outputs from its investment in publicly funded research.

Utilising country comparisons, this project will analyse international best practice approaches to encouraging and facilitating research translation, commercialisation and collaboration. This will include an analysis of measures to facilitate collaboration between researchers, businesses and other organisations, focusing on government strategies as well as industry, institutional and sectorial approaches. The resulting report will make evidence based findings about how current levels of translation, commercialisation and collaboration in Australia could be improved and examine how international models could be applied in Australia.