Items where Year is 2024

Gilbert Spencer (1892–1979) was a British painter, muralist, illustrator, teacher, and writer whose career spanned more than six decades. Recognised during his lifetime as one of the leading artists of his generation, his reputation has long been overshadowed by his more famous brother, Stanley. Yet Spencer’s fascination with landscape and his ability to capture everyday life in rural England led to the creation of some of the most poignant artworks of the interwar period.

Drawing on a newly discovered archive of personal letters, notebooks, and diaries, this illustrated biography tells Spencer’s story for the first time. Bringing together his major paintings, drawings and illustrations, many never before seen, the book greatly expands our understanding of Spencer. It reassesses his status within twentieth-century British modernism and the revival of the landscape tradition, as well as the important role he played in the reinvigoration of public mural painting. Spencer is also reappraised as one of the most successful art teachers of his time, and his extensive influence on the lives and careers of many twentieth-century artists is explored in detail.

This article presents and analyses the results of a research workshop conducted during and after the 2022 Transitus symposium at Falmouth University. The article aims to explore our visions of physical space, travel and migration through stock landscape illustration. The workshop invited illustrators to draw a five-step sequence of images customising a stock landscape by turning it into a view out of their window, thus exploring how a visual digital ‘airport’, a utopian hub of a stock landscape, disintegrates into particularities of individual experiences. The resulting sequences of images were put together in an online magazine about illustration, slonvboa.ru, and are available here: http://slonvboa.ru/nonlandscape (Accessed 10 June 2023) This webpage collects 30-minute drawings from fourteen illustrators based in ten countries: Armenia, Dubai, France, Germany, The Netherlands, Norway, Russia, Turkey, the United Arab Emirates and the United Kingdom, with ten of the participants being based outside of their home country. Building upon the idea of the ‘nomadic illustration’ suggested by Catrin Morgan and Marc Augé’s notion of ‘non-place’, this article will explore further similarities between nomadism and the circulation of stock imagery. It will thus use the term ‘nomadic’ not only as a metaphor, but also as a direct link to migration studies and studies of digital nomadism, which often describes the precarious occupation of a migrating illustrator. This project will aim to highlight the unlikely possibilities that stock illustration may offer as a point of connection, rather than presenting stock landscapes an alienating utopian abstraction. It will also analyse how individual authorial strategies deal with the notion of space, and how artistic means shape our visions of private and public spaces.

Over the last decade developments in virtual reality (VR) technologies have given rise to a new wave of immersive storytelling experiences that have captivated audiences at film festivals, in galleries, through online platforms and various other venues. In response, scholarly research into narrative-based VR has sought to understand the affordances, artistic qualities and immersive nature of this medium. Within this array of analysis and reflection, traditional screenwriting concerns such as narrative structure, plot devices and character development have been discussed alongside notions of immersion, embodiment and user experience design. Accordingly, notions of ‘script development’ have expanded to encompass processes gathered under terms like ‘conceptualization’, ‘prototyping’ and ‘narrative design’, which assume specific connotations in relation to various disciplinary approaches. This Special Issue explores the technologies, practices and paradigms that VR storytelling implements, with particular attention given to the differing terminology across disciplines that resonates, repurposes or redefines conceptual understandings belonging to earlier media, and specifically, to screenwriting for film.

The Power of Collaboration as Practice-Based Learning investigates the rich entangled hierarchical processes that occur during a collaborative artistic project called Sonic Camouflage. The Sonic Camouflage project was conceived at a time of decreasing radical art school cultures in an attempt to re-radicalise and intensify periods of learning for both students and tutor through a flattening of power structures between students and tutor. The research unearths insights into the effects of hierarchical power sharing during Sonic Camouflage on its collaborative participants by asking How do participants negotiate an artistic learning collaboration individually and collectively? The enquiry reveals that themed collaborative projects can be used successfully to provoke and propose a levelling out of power dynamics as positive agency for participants learning. https://www.youtube.com/watch?v=rA5t0gYd088