tag:blogger.com,1999:blog-64894417063313923562024-03-13T19:47:05.507+00:00ART GALLERY AND MUSEUM STUDIES LEEDSWelcome to the Leeds University Museum Studies Blog. Here you can follow the activities, conversations and debates associated with the University's School of Fine Art, History of Art and Cultural Studies courses.
We envisage it as an informal space for museum-related discussion, interests & the sharing of ideas.
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We hope you enjoy it! Rosa and Mark Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.comBlogger279125tag:blogger.com,1999:blog-6489441706331392356.post-74451607954007582982015-10-21T13:41:00.000+01:002015-10-21T13:41:31.540+01:00Leeds Museum Discovery Centre VisitThis morning, students from Art Gallery and Museum Studies have returned from their first visit of the semester. Leeds Discovery Centre is the main store for Leeds Museums, and houses 1.3 million objects in accessible storage. Gemma Pollard, a member of the Front of House team gave us a fantastic tour, even I saw bits of the store that I'd not been to before...<br />
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<br />Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-54062654356421241972015-10-09T12:12:00.000+01:002015-10-09T12:12:08.716+01:00Distant Drumbeat at Lyme Park<div class="separator" style="clear: both; text-align: center;">
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With my new found hours and hours of leisure time, having submitted my PhD on 28th September, I finally managed to recall that actually <i>going</i> to heritage sites ought to be something that I did.<br />
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So, with that in mind, last week I headed off to <a href="http://www.nationaltrust.org.uk/lyme-park/?p=1356325052650" target="_blank">Lyme Park in Disley</a> to see their contemporary art intervention <i>Distant Drumbeat</i> by the architect Sean Griffiths. Of course given the enthusiastic ways in which contemporary art has been taken up by heritage sites, it is clear that most are not 'interventions', but fully part of many museums' interpretation strategies.<br />
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<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/R4AJ4O6Vziw/0.jpg" src="https://www.youtube.com/embed/R4AJ4O6Vziw?feature=player_embedded" frameborder="0" allowfullscreen></iframe>In this case, <i>Distant Drumbeat</i> is part of <a href="http://www.newexpressions.org/" target="_blank">New Expressions 3</a> programme to '[unlock] the creative potential of museums'.<br />
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I hadn't done any research about it before I set off so I didn't really know what I was going to find. Once inside the formal garden, it did take me a few minutes to locate, but it was a really sunny day so I didn't mind wandering about slightly aimlessly, until I spotted it at the top of the garden.<br />
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Like many of these installations, some thinking about what the 'work' actually is, is inevitable. I could describe the wooden structure with an electronic drum kit installed, but of course, the 'Lantern' belvedere to which it is connected must also be counted as part of the work. The Lantern (installed during Lewis Wyatt's nineteenth century redevelopment of the site) lies at one end of an important sightline, the other end being the house, or perhaps more accurately the dining table of Lord Newton. When gazing at the Lantern at breakfast, he would assess the clarity of the view, before deciding whether it was a good day for hunting. I digress... (although isn't part of the purpose of these to aid historical understanding?)<br />
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Griffiths has connected the drum kit to a set of lights installed in the Lantern so that, when the drums are played, the lights change colour. So, what else to say... well, I guess I was mildly underwhelmed. I had fun, yes, working out which drum was which colour, but already I can't quite remember whether the drums, being electronic, had much sound themselves. It was a very sunny day so I couldn't see the lights that well. The wooden structure itself was quotidian and 'shed' like; so I momentarily wondered whether, instead of paying the entrance fee, I should have walked up to the Lantern itself to get a closer look, but a necessary part of the 'work' of course, is interacting with it. I did reflect on the relationship between light, sound, landscape but found myself more interested in the question of whether artworks such of these should engage with the history of a site, or whether they can simply be playful ways of 'being' in the landscape.<br />
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Watching others interact, it was clear that the very simplicity of playing the drums was really popular with the very young, and the not so young. Without straying into ACE audience segmentation, the term 'cradle to grave' came to mind. <i>Distant Drumbeat</i> was clearly very engaging. I 'chatted' to lots of visitors.(1) They were all very enthusiastic, and several discussed the need to change 'the offer' so their interest was renewed. One comment has stuck with me. One woman I spoke to said that she would never venture to Tate Modern, but she loved seeing art in NT properties. Given one aim of these projects is to offer those not so familiar with contemporary art the chance to engage, clearly this is working. Though I did want to spend more time chatting to understand why Tate wasn't for her, but this was.<br />
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I still feel the need to think more carefully, to tease out some of the resonances of this work, but a week or so later, it has grown on me.<br />
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1. Peter Howard suggests lots of good research is done through chatting. Howard, Peter, <i>Heritage: Management, Interpretation, Identity</i>, (London: Continuum Books, 2003) p.122.<br />
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Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-31804697620787556602015-01-30T15:36:00.002+00:002015-01-30T15:36:56.704+00:00Museums Change LivesA quick note to share the recently published case study reports on how the Museum Association strategy is being applied. There's a news item on the MA website, here, and there you'll find links to lots of interesting material. There's the Tank Museum in Dorset working with young offenders, and the Scottish Football museum dealing with memory and self confidence.<br />
I'm thinking particularly of my Introduction to Museum Studies students who will be doing presentations soon exploring recent museum practice!<br />
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<a href="http://www.museumsassociation.org/news/28012015-museums-change-lives-case-studies-published?utm_source=ma&utm_medium=email&utm_campaign=30012015" target="_blank">You'll find the news item here.</a>Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-65772428752919434362015-01-05T16:03:00.003+00:002015-01-06T10:17:55.064+00:00Digitisation in Museums<div class="separator" style="clear: both; text-align: center;">
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">As a new book surveys landmark shows, museums are only just starting to catch up with the digital revolution of the photographic medium.</strong></div>
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Around the turn of the century, books dealing with the relatively new art-historical subgenre of exhibition history were far a few between. Since the late 2000s however, as master's programmes in curatorial practice have proliferated, so too have publications on the subject of exhibition history. A recent addition to this category is Alessandra Mauro's book <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Photoshow</em>; a historical survey of landmark photography exhibitions, ranging from the "International Exhibition of Artistic Photography" in Vienna in the 19th century, to Erik Kessel's 2011 show "24 hrs in Photos".</div>
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Aside from the book's descriptive analyses of the exhibitions and their significance, a number of critical and curatorial challenges presented by the medium are addressed. This included an interesting discussion between Quentin Bajac, chief curator of photography at the Museum of Modern Art (MoMA), and Alessandra Mauro, editorial director of the Forma Foundation for Photography, Milan, on the topic of curating photography in the age of the internet. "I have no doubt that the future lies in the digital museum" Bajac tells Mauro, adding, "by that I don't just mean a website [...] museums have yet to embrace the paperless form of photography, unlike the "public at large" and many artists".</div>
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For Bajac, the digital museum of the future will commission work that is meant to be looked at <span class="underline" style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: underline; vertical-align: baseline;">only</span> on screen. (Paradoxically, digitisation allows museums to present the materiality of historic images in a way that is impossible in an exhibition or book). MoMA has started exploring the possibilities presented by digitisation, launching <a href="http://www.moma.org/interactives/objectphoto/#home" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #7b539d; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">"Object: Photo" </a>in December: an online extension to Bajac's exhibition of the Thomas Walther collection of Modern photography (1909-49). Utilizing technology, "Object: Photo" enables it's visitors to explore - in greater detail - the images by avant-garde photographers Alfred Stieglitz, Manuel Alvarez Bravo, and Berenice Abbott among others. Looking behind the prints, exploring the results of X-ray fluorescence spectroscopy, and gaining access to additional information based on new research.</div>
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However, this is by no means a marker for change within the museum sector. Rather, an indication of MoMA's progressive intent. Depending on the art institution - their institutional outlook, type of collection, budget, and limited by architecture (to put it very simply) - museums are embracing technology at different rates and on varying levels. For instance, while the <a href="http://www.stedelijk.nl/en/artours/artours-app" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #7b539d; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Stedelijk museum in Amsterdam launched their interactive Augmented Reality app</a> in 2009, and <a href="http://www.sndrv.nl/moma/" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #7b539d; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">MoMA allowed an external hacking of their system to create an interactive curation platform</a>, the 'no phone' / 'no photography' in the gallery ban prevailed in the majority of UK art institutions.</div>
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It will be interesting to see where Bajac takes digitisation next at MoMA.</div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-49417061284638363712015-01-05T16:02:00.000+00:002015-01-05T16:02:16.110+00:00Triennale Brugge 2015<div class="separator" style="clear: both; text-align: center;">
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<div style="background-color: white; border: 0px; box-sizing: border-box; color: #4d4f51; font-family: Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; line-height: 24px; margin-bottom: 30px; padding: 0px; vertical-align: baseline;">
<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.triennalebrugge.be/en/" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #7b539d; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">Contemporary Art and Architecture Triennial of Bruges 2015</a><br style="box-sizing: border-box;" />20 May 2015 - 18 October 2015</strong><strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Brugge, Belgium</strong>Curators: <strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tim Holger-Borchert, Lies Coppens, Michel Dewilde</strong></div>
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Since 2007 more than sixty percent of the world population has lived in an expanding network of very large, unfinished cities. Attitudes to this phenomenon of global urbanization differ. On the one hand, a number of experts like Benjamin Barberi regard the city as a solution to a range of global problems. Where the traditional sovereign nation state and large international organisations fail, Barber sees the liberating potential of the city. Eric Corijnii also believes that cities are increasingly junctions for social and political reconstruction. Ruth Eatoniii, on the other hand, refers to the detrimental consequences of global urbanization and to its damaging legacy.</div>
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The Triennial sets out to explore this in the unique setting of a historic city that is a UNESCO World Heritage Site: Brugge.</div>
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Central to the Triennial is the question of the future identity of the city and its possible role in the rapidly rising levels of urbanization: What can Bruges distil from the recent evolutions that typify the mega-cities? And conversely: can a small city that is protected by UNESCO contribute to the development of a new form of urbanization? In this connection the curators juxtapose two frictions: the representation of Bruges as a static medieval city versus the dynamic image of the unfinished global city. The curatorial team have linked the two frictions by means of a hypothetical question: "What would happen if the five million people who visit Bruges every year suddenly decided to settle here permanently?". (This reminds me of Ai Weiwei's '1001 Chinese Visitors' project, in which he invited 1001 Chinese citizens to visit Documenta 12 in Kassel, explore the town, the exhibition programme, and most crucially - to interact with other cultures. These interactions formed the content of the artwork, documented and preserved by filmmakers and an accompanying book of interviews. Corresponding to this, Ai Weiwei installed 1001 chairs from the Qing Dynasty throughout the exhibition spaces of Documenta 12, to be exposed to, sat on and studied by the German public and the many other cultures present at the exhibition).</div>
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Each of the invited European and Asian artists will interpret this area of tension in their own way, linking the fields of contemp art and architecture against the background of the intact historic city centre. Each of the outdoor works will be specially conceived for the 2015 Triennial. The end result of this process will be on show in the public space from May 20th to October 18th 2015, to then disappear from the cityscape. In addition to the outdoor art trail, there will be indoor exhibitions in various locations: De Bond, Arentshuis, the Town Hall and the Spanish warehouses.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-70012458827886303852014-06-21T11:47:00.001+01:002014-06-21T11:47:27.647+01:00Period Room Conference, The Bowes Museum<!--[if gte mso 9]><xml>
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<i style="mso-bidi-font-style: normal;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Thursday 18<sup>th</sup> Friday 19<sup>th</sup>
& Saturday 20<sup>th</sup> September 2014 </span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"></span></i></i></div>
<i style="mso-bidi-font-style: normal;">
<div align="center" style="margin-bottom: 1.4pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The Bowes Museum, Barnard Castle, County Durham</span></b><span style="font-family: "Garamond","serif"; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Since the late 19<sup>th</sup> century the Period Room
has been a consistent presence in the public museum, and yet over the past 25
years the Period Room has become a contentious museum object, leading many
museums to question the legitimacy of the Period Room as an effective and
appropriate method of display and interpretation. </span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">As dislocated fragments, often remodelled to fit the
spaces in the museum, the Period Room is, for some: a signifier for the inauthentic,
an outmoded method of display and an example of unfashionable museum
interpretation. Many museums retain their Period Room displays, but the recent
changes in the perspectives on Period Rooms have also led a number of museums
in the UK, Europe and the USA to reconsider their continued relevance as museum
objects. This may include dismantling or de-accessioning the displays, and in
some cases, repatriating the Period Rooms to their places of origin (if they
still exist). </span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>This
conference, jointly organised by the University of Leeds and The Bowes Museum,
and supported by the Paul Mellon Centre for Studies in British Art, considers
the Period Room, and the historic interior, from a wide variety of perspectives
in order to address some key questions about the history and practice of Period
Room displays in Museums.</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The conference has an interdisciplinary framework
incorporating theoretical and practice-based perspectives. It brings together leading
academics and museum professionals from a wide range of institutions in the UK,
Europe and the USA, to discuss, debate and share perspectives on history and
interpretation of Period Rooms and historic interiors in museums. </span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">For conference delegates there is also a chance for
wider participation in the debates through the mid-conference ‘Sandpit’. We
hope that the conference will have wide appeal and that it will have a
significant impact on future museum practice and museum theory.</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Conference highlights include:</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Keynote talks from Thomas Michie, (Senior Curator,
Decorative Art and Sculpture at Museum of Fine Arts, Boston) and Giles
Waterfield, (Former Director, Dulwich Picture Gallery).</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Closing conference address from Professor Helen Rees
Leahy (Professor of Museology at the University of Manchester).</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Conference speakers include museum professionals from
The Metropolitan Museum of Art, New York; Minneapolis Institute of Art; New
Orleans Museum of Art; National Museums, Scotland; Historic Royal Palaces; The
Science Museum, London; The Jewish Museum, Vienna, and the Universalmuseum
Joannneum, Graz. As well as academics from University of Cambridge; University
of Ghent; KTH Royal Institute, Stockholm; De Montfort University; University of
Durham; Open University; University of Potsdam; University of Southampton. </span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Included in the conference fees are:</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Presentations on the innovative methods of display and
interpretation of the English Interiors Galleries at The Bowes Museum, led by
senior curators.</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">An organised field trip to Auckland Castle.</span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Evening wine receptions at both The Bowes Museum and
Auckland Castle. </span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The full conference programme and costs </span><span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">are available via The Bowes
Museum website</span><span style="font-family: "Garamond","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">: </span><span lang="FR"><a href="http://www.thebowesmuseum.org.uk/"><span lang="EN-GB" style="font-family: "Garamond","serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">www.thebowesmuseum.org.uk</span></a></span></div>
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<span style="font-family: "Garamond","serif"; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">For further
information, or to request a booking form please contact Rosie Bradford at The
Bowes Museum by email: </span><span lang="FR"><a href="mailto:ThePeriodRoom@thebowesmuseum.org.uk">ThePeriodRoom@thebowesmuseum.org.uk</a><span style="color: #1f497d;"> </span></span><span style="font-family: "Garamond","serif"; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">or by telephone: 01833
694615. </span><span style="font-family: "Garamond","serif"; font-size: 14.0pt; mso-ansi-language: EN-GB;"></span></div>
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for Conference Tickets so we advise booking early. </span></div>
</i><br />
Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-10768205329558631872014-03-16T12:35:00.001+00:002014-03-16T12:35:28.228+00:00<!--[if !mso]>
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<span style="mso-ansi-language: EN-GB;"></span><span lang="EN-US">The Stanley & Audrey Burton Gallery, at the University of Leeds, are hosting an event on 5th April, 2.00pm-4.00pm </span><span lang="EN-US"> </span><span style="font-size: large;"><b><span lang="PT-BR">So, you want to work in
the art world?</span><span lang="EN-US"> /</span></b><span class="Heading1GreyChar"><span lang="EN-US"> A workshop with creative entrepreneur
Dom Smith</span></span></span>
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leeds.ac.uk/art-gallery-events<br clear="all" style="mso-column-break-before: always;" />
<span style="color: black; font-size: 11.5pt; mso-bidi-font-family: Arial; mso-fareast-language: EN-GB;">Dom Smith, editor of </span><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-size: 11.5pt; mso-bidi-font-family: Arial; mso-fareast-language: EN-GB;"><a href="http://www.soundspheremag.com/" target="_blank"><span style="color: windowtext; text-decoration: none; text-underline: none;">Soundsphere Magazine</span></a></span></i><span style="color: windowtext; font-size: 11.5pt; mso-bidi-font-family: Arial; mso-fareast-language: EN-GB;">, co-founder of the <i style="mso-bidi-font-style: normal;"><a href="http://www.disabledentrepreneurs.co.uk/" target="_blank"><span style="color: windowtext; text-decoration: none; text-underline: none;">Disabled
Entrepreneurs Network</span></a></i> and director of creative
agency, <i style="mso-bidi-font-style: normal;"><a href="https://www.facebook.com/thecreativeconditionuk" target="_blank"><span style="color: windowtext; text-decoration: none; text-underline: none;">The Creative
Condition</span></a></i></span><span style="color: black; font-size: 11.5pt; mso-bidi-font-family: Arial; mso-fareast-language: EN-GB;">, will be in the Gallery to
provide some key tips on getting ahead in the arts world and promoting your
arts business or idea. </span></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="color: black; font-family: "Arial","sans-serif"; font-size: 11.5pt; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">The key aim of this
workshop is to inspire start-up creative business owners, artists and writers;
and to address central aspects of business promotion - from creating press
releases and news story building, to utilising social media and blogging
platforms to their full potential.</span></div>
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<b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 11.5pt; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">This workshop is open to
all aged 16+, particularly professional or budding artists, creative thinkers,
idea generators, entrepreneurs and fledgling journalists...</span></b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 11.5pt; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;"></span></div>
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<b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 11.5pt; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;">Please bring your own
laptop if possible!</span></b><span style="color: black; font-family: "Arial","sans-serif"; font-size: 11.5pt; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB;"> </span></div>
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<span style="color: windowtext; font-size: 11.5pt;">To find out more about Dom and his work visit his website:
www.domsmithonline.co.uk</span></div>
<div class="AddressGrey" style="line-height: normal;">
<br /></div>
<div style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<strong><span style="border: none windowtext 1.0pt; color: grey; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">This is a free workshop but places are limited
so please book in advance.</span></strong><span class="apple-converted-space"><span style="color: grey; font-family: "Arial","sans-serif"; font-size: 10.0pt;"> </span></span><span style="color: grey; font-family: "Arial","sans-serif"; font-size: 10.0pt;">A
refundable booking fee of £5 will be taken upon booking. This will be returned
to you on arrival at the workshop. Cancellations within 48 hours of the event
will not be eligible for a refund.</span></div>
<div style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<br /></div>
<div style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<strong><span style="border: none windowtext 1.0pt; color: grey; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">All tickets must be booked online:</span></strong><strong><span style="border: none windowtext 1.0pt; color: #5c5b56; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span></strong><strong><span style="border: none windowtext 1.0pt; color: #5c5b56; font-family: "Arial","sans-serif"; font-size: 10.0pt; font-weight: normal; mso-border-alt: none windowtext 0cm; padding: 0cm;"><a href="http://the-art-world.eventbrite.co.uk/">http://the-art-world.eventbrite.co.uk</a></span></strong><strong><span style="border: none windowtext 1.0pt; color: #5c5b56; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;"></span></strong></div>
<div style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<br /></div>
<div style="background: white; line-height: 13.5pt; margin-bottom: .0001pt; margin: 0cm; vertical-align: baseline;">
<strong><span style="border: none windowtext 1.0pt; color: grey; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;">For more information contact the Gallery on
0113 3432778 or by email:</span></strong><span class="apple-converted-space"><b><span style="border: none windowtext 1.0pt; color: #5c5b56; font-family: "Arial","sans-serif"; font-size: 10.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;"> </span></b></span><span style="color: #5c5b56; font-family: "Arial","sans-serif"; font-size: 10.0pt;"><a href="mailto:gallery@leeds.ac.uk"><strong><span style="border: none windowtext 1.0pt; color: #2554be; font-family: "Arial","sans-serif"; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">gallery@leeds.ac.uk</span></strong></a><strong><span style="border: none windowtext 1.0pt; font-family: "Arial","sans-serif"; mso-border-alt: none windowtext 0cm; padding: 0cm;">.</span></strong></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #ff3399; font-family: "Arial","sans-serif"; font-size: 9.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><br clear="all" style="mso-break-type: section-break; page-break-before: always;" />
</span></b>Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-31248993207873330592014-02-27T13:30:00.003+00:002014-02-27T13:30:31.348+00:00Weekend Receptionist Vacancy at the Henry Moore Institute<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
Maternity Cover Part-time.<br />9 month fixed term appointment with the possibility of extension to one year.<br />To commence Saturday 22 March.</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
Salary £17,000 pro-rata (£6,800 p.a)<br />Holidays: 23 days pro-rata</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
We are seeking to appoint a Weekend Receptionist to work 2 days a week<br />(Saturdays and Sundays: 9.45am - 5.45pm) to work on our front desk reception/ bookshop area.</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
Duties include operation of cash till and credit card machine, maintaining stock levels of publications & leaflets at reception, telephone enquiries, staffing and supervision of weekend Information Assistants, and providing visitor information.</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
The successful candidate will be punctual, reliable, have excellent personal organisation and effective interpersonal skills. They will be able to remain calm under pressure, and be able to work as part of a team but also have initiative to make their own decisions when required. Previous experience in this type of role is advantageous. Any training required will be provided before the start date.</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
Please send a covering letter, a CV and the name of two referees to:<br />Catherine Aldred, Henry Moore Institute, The Headrow, Leeds LS1 3AH<br /><a href="mailto:catherine@henry-moore.org" style="color: #3a3a3a;">catherine@henry-moore.org</a><br />Tel: 0113 246 7467</div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
Closing date: <strong>Friday 28 February 2014</strong></div>
<div style="background-color: white; color: #3a3a3a; font-family: Arial, sans-serif; font-size: 12px; line-height: 16px; margin-bottom: 10px; margin-right: 35px; margin-top: 5px;">
http://www.henry-moore.org/hmi/visiting/job-vacancy-weekend-receptionist</div>
Anonymoushttp://www.blogger.com/profile/16849999855239565411noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-25308743998778166262014-02-02T17:53:00.002+00:002014-02-02T17:54:43.016+00:00Call For Papers - The Period Room: Museum, Material, Experience at Bowes Museum<!--[if !mso]>
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<span class="Apple-style-span" style="font-family: Garamond;"><span class="Apple-style-span" style="font-size: 11px;"><br /></span></span></div>
<div align="center" style="margin-bottom: 1.4pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 20.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">CALL
FOR PAPERS</span></b><span style="font-family: Garamond; font-size: 20.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 24.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The
Period Room: Museum, Material, Experience<o:p></o:p></span></i></div>
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<div align="center" style="margin-bottom: 1.4pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>Friday 19<sup>th</sup>
& Saturday 20<sup>th</sup> September 2014 </span></i></b><i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></i></div>
<div align="center" style="margin-bottom: 1.4pt; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The
Bowes Museum, Barnard Castle, County Durham</span></b><span style="font-family: Garamond; font-size: 18.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Since the late 19<sup>th</sup> century the Period Room has been a
consistent presence in the public museum, and yet over the past 25 years the
Period Room has become a contentious museum object, leading many museums to
question the legitimacy of the Period Room as an effective and appropriate
method of display and interpretation. As dislocated fragments, often remodelled
to fit the spaces of the museum, the Period Room is, for some, a signifier for
the inauthentic, an outmoded method of display and a representation of
unfashionable museum interpretation. The problems associated with Period Rooms
are exacerbated by the fact that they are large and bulky objects, difficult
and expensive to redisplay or reinterpret. Many museums retain their Period
Room displays, but the recent changes in the perspectives on Period Rooms have also
led a number of museums in the UK, Europe and the USA to reconsider their
continued relevance as museum objects, to dismantle and deaccession the
displays, and in some cases to repatriate the Period Rooms to their places of
origin (if that still exists of course). <o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>This conference, held at the
Bowes Museum, which redisplayed its own collection of Period Rooms in 2007-10, aims
to consider the Period Room from a wide variety of perspectives in order to
address some key questions about Period Rooms and the history of Period Rooms
display in Museums: Should Period Rooms be considered objects in their own
right, or merely ‘contexts’ for related material? How, and in what ways, did
Period Rooms satisfy ideas of museum interpretation, and how and why did these
attitudes change? What was the role of the evolving frameworks of
national/local heritage in the appearance of Period Rooms in museums? What
were/are the theoretical, technical and aesthetic frameworks for the display of
Period Rooms in museums? How, and in what ways, is the Period Room different
from, or similar to, the Historic Interior?<o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">We invite papers to explore these
themes and relationships from a wide range of perspectives and from a wide
range of organisations, institutions and disciplines, from academics (historians,
art historians, literary and film historians), museum curators and
professionals, exhibition designers, technicians and craft-workers):</span></i><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Themes for consideration may include:<o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The processes of the circulation, display and redisplay of Period Rooms
– the dealers, merchants, decorators, collectors, and museum curators and their
roles in the changing taste for the Period Room. <o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Case Studies of Period Rooms – the history of specific displays in
museums and other public institutions; their provenance, removal and reconstruction;
display and interpretation. <o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The philosophical history of the Period Room as a particular mode of
engagement with the past - as an historical space, as a space of historical
empathy, and as an immersive environment. <o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The material and technical aspects of Period Room display; the
challenges of redisplay in museum contexts, what the objects reveal about the
history of their making and the history of museum interpretation.<o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">The ‘Period Room’ in literature, film and visual culture; how was/is the
Period Room/Historic Interior imagined, and what can these perspectives tell us
about how we engage with the Period Room in the museum?<o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Please send abstracts of no more than 400 words to the conference
organisers:</span></i></b><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Dr Mark Westgarth (School of Fine Art, History of Art and Cultural
Studies, University of Leeds) </span><span lang="FR"><a href="mailto:m.w.westgarth@leeds.ac.uk"><span lang="EN-US" style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span lang="EN-US">m.w.westgarth@leeds.ac.uk</span></span></a></span><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";">Dr Jane Whittaker (The Bowes Museum) </span><span lang="FR"><a href="mailto:jane.whittaker@thebowesmuseum.org.uk"><span lang="EN-US" style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span lang="EN-US">jane.whittaker@thebowesmuseum.org.uk</span></span></a><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt;">
<span lang="FR" style="font-family: Garamond; font-size: 14.0pt;">Dr Howard Coutts (The Bowes Museum)</span><span lang="FR"><a href="mailto:howard.coutts@thebowesmuseum.org.uk"><span style="font-family: Garamond; font-size: 14.0pt;">howard.coutts@thebowesmuseum.org.uk</span></a></span><span lang="FR" style="font-family: Garamond; font-size: 14.0pt;"><o:p></o:p></span></div>
<div style="margin-bottom: 1.4pt; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 18.0pt; mso-ansi-language: EN-GB;">Closing Date for Abstracts: 31st March 2014.</span></b><span style="font-family: Garamond; font-size: 14.0pt; mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<!--EndFragment-->Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-27313194340434203762014-01-28T16:55:00.000+00:002014-01-28T16:55:12.687+00:00Intersecting Practices: assessing the role and impact of contemporary art in heritage spaces INTERNSHIP<span style="font-family: inherit;">I'm at the beginning of a new project working with Pavilion, the Bronte Parsonage, and Huddersfield University.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
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<span style="font-family: inherit;">This project is going to explore the role and impact of contemporary art in heritage
spaces, through a series of visits, interdisciplinary workshops and seminars.</span><br />
<span style="font-family: inherit;"><br /></span>
Thanks to the funding we've received from the<span style="font-family: inherit;"> <span style="font-style: oblique;">Creative and Cultural Industries Exchange, University of Leeds </span>there is the opportunity for an MA or PhD student to work with us as an intern between end of Feb and May.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I'll be posting more information about the project as we get going, in the meantime, if you are interested in the internship, drop me an email and I'll send you the details.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Nick</span><br />
<span style="font-family: inherit;">n.cass@leeds.ac.uk</span><br />
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Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-83751419305078008072014-01-13T16:41:00.000+00:002014-01-13T16:41:50.702+00:00Contemporary Art and Heritage Event Hosted by Pavilion @ University of Leeds<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
I've been asked by <a data-mce-href="http://www.pavilion.org.uk" href="http://www.pavilion.org.uk/">Pavilion</a> to speak at an event with a focus on the relationship between visual art and heritage. I'll be speaking about my research into the Contemporary Art Programme at the <a data-mce-href="http://www.bronte.org.uk" href="http://www.bronte.org.uk/">Bronte Parsonage</a>. Details are:</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<span data-mce-style="font-family: Calibri, Verdana, Helvetica, Arial;" style="font-family: Calibri, Verdana, Helvetica, Arial;"><b>On January 22nd</b>, Pavilion will host a knowledge sharing event looking at the relationship between visual art and heritage. The event will be an opportunity for interested artists and curators across the region to come together and explore issues relating to impact, funding and models of practice. The event will explore the political potential of art across a range of heritage settings and the way contemporary art can investigate, illuminate but also counter narratives relating to heritage.</span></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
The event will take place 2-4pm at the International Textiles Archive at the University of Leeds and will include short presentations by Jill Winder (ULITA), Linzi Stauvers (Pavilion), Daniel Cutmore (Arts Council England), Patrick Eyres (New Arcadian Journal), Harold Offeh (Leeds Metropolitan University) and Nick Cass (University of Leeds), followed by an opportunity for participants to share knowledge, ideas and practices.</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
For directions to the archive visit <span data-mce-style="text-decoration: underline;" style="text-decoration: underline;"><a data-mce-href="http://ulita.leeds.ac.uk/wiki/mediawiki-1.10.1/index.php/Visit#Directions" href="http://ulita.leeds.ac.uk/wiki/mediawiki-1.10.1/index.php/Visit#Directions">http://ulita.leeds.ac.uk/wiki/mediawiki-1.10.1/index.php/Visit#Directions</a></span></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<span data-mce-style="font-family: Calibri, Verdana, Helvetica, Arial;" style="font-family: Calibri, Verdana, Helvetica, Arial;">The event will follow on from previous sector discussions, including Meeting Point: Engaging the Heritage Audience, delivered by Arts and Heritage in 2013 and supports Arts Council England’s strategic work to develop a sustainable relationship between the arts and heritage sectors.</span></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
RSVP to <a data-mce-href="//A09ADE9B-87A2-405C-A44A-B3C312B91216/gill@pavilion.org.uk" href="http://a09ade9b-87a2-405c-a44a-b3c312b91216/gill@pavilion.org.uk">gill@pavilion.org.uk</a></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Gill Park<br />Director<br />Pavilion | 11-14 Blenheim Terrace | University of Leeds | Leeds | LS2 9JT<br /><a data-mce-href="//A09ADE9B-87A2-405C-A44A-B3C312B91216/gill@pavilion.org.uk" href="http://a09ade9b-87a2-405c-a44a-b3c312b91216/gill@pavilion.org.uk">gill@pavilion.org.uk</a><br />0113 343 2718</div>
Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-29365983229760649712013-12-23T15:43:00.000+00:002013-12-23T15:43:23.770+00:00Collections and Identity Conference - call for papers<!--[if gte mso 9]><xml>
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<![endif]--><span style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif";"></span></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif";"> </span></b><br />
<div align="center" class="xmsonormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif";">Collections and
Identity</span></b></div>
<div align="center" class="xmsonormal" style="text-align: center;">
<span style="font-family: "Tahoma","sans-serif";">Egham Museum & Royal Holloway
University Centre for Public History</span></div>
<div align="center" class="xmsonormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Tahoma","sans-serif"; font-size: 11.0pt;">Friday
2<sup>nd</sup> May 2014</span></b></div>
<div class="xmsonormal" style="text-align: justify;">
<span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">Egham Museum is hosting a one-day conference
on ‘Collections and Identity’ at the Proctor & Gamble Innovation Centre,
Egham.<span style="mso-spacerun: yes;"> </span>The conference is aimed at
Postgraduate Museum Studies Students, and will explore questions surrounding
museum collections, their function, value, and future.</span></div>
<div class="xmsonormal" style="text-align: justify;">
<span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">Key Note Speakers include: Maurice Davies,
Head of Policy and Communications, The Museums Association; and Ellie Miles,
Interpretation Officer at the British Museum.</span></div>
<div class="xmsonormal" style="text-align: justify;">
<span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">Deadline for Abstracts is 31<sup>st</sup>
January 2014</span></div>
<div class="xmsonormal" style="text-align: justify;">
<span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">Paper deadline is 28<sup>th</sup> February
2014.</span></div>
<div class="xmsonormal" style="text-align: justify;">
<span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">Submissions: </span><a href="mailto:curator@eghammuseum.org"><span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;">curator@eghammuseum.org</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 9.0pt;"></span></div>
Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-82362060194455703862013-12-20T09:02:00.000+00:002013-12-20T09:02:48.231+00:00Culture Clash? Contemporary arts in historic contexts<span style="font-family: HelveticaNeue-Light; font-size: 12px;">Hi everybody</span><br />
<span style="font-family: HelveticaNeue-Light; font-size: 12px;">I thought you'd like details of a conference I'm speaking at in February. Below is the official blurb and programme.</span><br />
<br />
<br />
<h3>
Culture Clash? Contemporary arts in historic contexts</h3>
<br />
<h4>
<span style="font-family: HelveticaNeue-Light; font-size: 12px;">Royal Museums Greenwich, London, February 14, 2014</span></h4>
<br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">To coincide with the latest in a series of contemporary interventions, </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Yinka Shonibare MBE at Greenwich, Royal Museums Greenwich is hosting a </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">one day conference to explore the role of contemporary art outside the </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">white cube.</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">In recent years it has become increasingly popular for museums and </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">historic buildings to invite living artists to respond to their </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">buildings or collections by curating, creating or performing on site. </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">What has been the impact of this popular collaborative trend for </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">artists, museums and their audiences?</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Themes addressed by the conference include: the artist as curator/the </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">curator as artist; contemporary art, memory and commemoration; the </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">relationship between artists, museums and the market; artists’ </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">residencies and audience engagement.</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><h4>
<span style="font-family: HelveticaNeue-Light; font-size: 12px;">Programme</span></h4>
<br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">09.00–09.50: Registration and refreshments</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;"><b>10.00–11.30: Session 1: Approaches and Challenges</b></span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">New Visions of the Sea: Assessing the Legacy of Contemporary Art at the </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">National Maritime Museum, 1999–2009</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Helen Hillyard, National Gallery</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">The Challenges Faced by Local Authority-Managed Museums and Settings</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Julien Parsons and Martin Thomas and, Royal Albert Memorial Museum, </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Exeter</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Contemporary Arts, Historic Contexts… and the Law</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Dr Antoinette Maget Dominicé, University of Lucerne</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">11.30–12.00: Coffee and tea break</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;"><b>12.00–13.00: Session 2: Interpreting and Animating Sites and Collections</b></span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Talking Back: Artists Working with Natural History Collections from </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Australia, China and India</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Bergit Arends, independent curator</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">The Haunting of a Shrine: Contemporary Art at the Brontë Parsonage </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Museum</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Nick Cass, University of Leeds</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">13.00–14.00: Lunch</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><b><span style="font-family: HelveticaNeue-Light; font-size: 12px;">14.00–15.30: Session 3: Collaboration, Dialogue and (Mis)Understanding</span></b><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Disturbing the Comfortable</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Melissa Hamnett, V&A</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">How Do We See Each Other? Dialogue and Exchange in Native American </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Curatorial Methodologies</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Helen Shaw, University of York</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Playing with the Past</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Jonathan Carson and Rosie Miller, Carson & Miller</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">15.30–15.45: Break</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">15.45–16.45: Keynote: to be confirmed</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">17.00–19.00: Reception and curator tour of Yinka Shonibare MBE at </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">Greenwich in the Queen’s House</span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">The fee is £50 (concessions £40) and includes lunch and refreshments. </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">For more information and booking form please contact </span><a href="mailto:research@rmg.co.uk" style="font-family: HelveticaNeue-Light; font-size: 12px;">research@rmg.co.uk</a><span style="font-family: HelveticaNeue-Light; font-size: 12px;"> </span><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><span style="font-family: HelveticaNeue-Light; font-size: 12px;">or call 020 8312 6716 or visit </span><a href="http://www.rmg.co.uk/researchers/conferences" style="font-family: HelveticaNeue-Light; font-size: 12px;">www.rmg.co.uk/researchers/conferences</a><br style="font-family: HelveticaNeue-Light; font-size: 12px;" /><br style="font-family: HelveticaNeue-Light; font-size: 12px;" />Nick Casshttp://www.blogger.com/profile/05880466699322986545noreply@blogger.com1tag:blogger.com,1999:blog-6489441706331392356.post-34106697064773925882013-11-21T10:23:00.004+00:002013-11-21T10:26:08.373+00:00Artist Michael Landy in conversation with Richard Calvocoressi 30 November 2013Henry Moore Lecture Theatre, Leeds Art Gallery<br />
5-6pm<br />
Free<br />
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Join artist Michael Landy and Richard Calvocoressi (Director of The Henry Moore Foundation) discussing their mutual and longstanding fascination with the work of Jean Tinguely (1925–91). The talk will begin with a screening of Michael’s documentary film H2NY (Homage to New York). This event follows the Henry Moore Institute conference Pyrotechnic Sculpture and coincides with its exhibitions Dennis Oppenheim: Thought Collision Factories, Jean Tinguely: Spiral and Stephen Cripps: Pyrotechnic Sculptor.<br />
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Michael Landy is an artist who lives and works in London. He graduated from Goldsmiths College of Art in 1988, exhibiting at Freeze in the same year alongside the cohort that would come to be known as the Young British Artists. Landy’s work came to wider public attention in 2001 with Break Down, an installation in a former branch of C&A at Marble Arch, in which he catalogued and destroyed all of his possessions. He returned to this theme in 2010 with Art Bin at the South London Gallery, where the public were invited to dispose of their ‘failed’ artworks. Most recently, the exhibition Saints Alive displayed his engagement with the representation of saints in the permanent collection of the National Gallery through drawing, collage and a series of monumental kinetic sculptures. <br />
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Richard Calvocoressi has been Director of The Henry Moore Foundation since 2007. He was formerly Director of the Scottish National Gallery of Modern Art in Edinburgh (1987-2007), where he acquired important international collections of dada and surrealist art from the estates of Roland Penrose and Gabrielle Keiller and was instrumental in attracting the Anthony d’Offay gift to Edinburgh and London. He recently co-curated the exhibition Bacon Moore: Flesh and Bone at the Ashmolean Museum, Oxford. He has also organised exhibitions of, or published on, Georg Baselitz, Reg Butler, Lucian Freud, Anselm Kiefer, Oskar Kokoschka, Paul Klee, René Magritte, Lee Miller and Jean Tinguely. He is an expert member of the Comité Magritte, a member of the Francis Bacon Catalogue Raisonné Committee, a trustee of The Art Fund and a member of the U.K. government’s Reviewing Committee on the Export of Works of Art. In 2008 he was awarded a CBE for services to the Arts, particularly in Scotland.<br />
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Book online at: <a href="http://www.henry-moore.org/hmi/events/pyrotechnic-sculpture/book-a-place-at-this-talk-online">http://www.henry-moore.org/hmi/events/pyrotechnic-sculpture/book-a-place-at-this-talk-online</a>Anonymoushttp://www.blogger.com/profile/16849999855239565411noreply@blogger.com2tag:blogger.com,1999:blog-6489441706331392356.post-61695116531656556952013-11-16T13:27:00.002+00:002013-11-16T15:53:07.218+00:00'Edmund de Waal: Make Pots or Die' BBC imagine series.Hello everyone! Whilst I was at home over reading week I sat down with my mum and sister to watch this documentary on Edmund de Waal. Both my mum and sister had read his recently renowned book 'Hare With The Amber Eyes', which I hope to finish once university reading comes to a close! Whether you have read the book or not, it is a great documentary about such an interesting man. I really enjoyed learning how his academic research informed his artistic practice. It was a very inspiring watch, which I thought might be ideal as a cold weekend viewing! So, here it is...<br />
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Watch here: <a href="http://www.bbc.co.uk/i/b03hcmmp/">http://www.bbc.co.uk/i/b03hcmmp/</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wcyv_lxNvjjiqaE4RGqeOtv6tqGhpgYW4b-4c-SukENMHcdPFjV-lp3XpKmkjQ9swE_291lZ3G8TqSO47ajQz_31ki3KAsNp0y4MHWhglQMK93Wn8lBwEnngjDAJuzp3iNzysguWr_M/s1600/Imagine---Alan-Yentob-wit-009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8wcyv_lxNvjjiqaE4RGqeOtv6tqGhpgYW4b-4c-SukENMHcdPFjV-lp3XpKmkjQ9swE_291lZ3G8TqSO47ajQz_31ki3KAsNp0y4MHWhglQMK93Wn8lBwEnngjDAJuzp3iNzysguWr_M/s400/Imagine---Alan-Yentob-wit-009.jpg" width="400" /></a></div>
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<u>BBC introduction:</u><br />
"Edmund de Waal is the bestselling author of the Hare With The Amber Eyes, a family memoir that captured the hearts of millions. But he isn't just a writer; from the age of five he has been making thousands and thousands of pots. After 45 years, he is exhibiting his work for the first time in America and researching his next book, a globe-spanning journey through porcelain. imagine... follows Edmund over a remarkable year"Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-6489441706331392356.post-78897595489875468062013-11-13T01:37:00.001+00:002013-11-14T11:08:25.201+00:00How to help first year students?So I am a first year student and enjoying my history of art degree thoroughly, however I want to see some art. Northern England is rich with museums, galleries, exhibitions-the like. But, being new to this area I have no idea where to go, what is good, or even what's on. Now lecturers say just 'get out there', buts it's hard to explore an area that you are completely unfamiliar about, as well as in a position where you're just getting to grips on how to do laundry. As an avid reader of this blog, I think it would be fantastic to get older students who have done this a bit more to do a <b><i>'20 places to go before you leave uni'</i></b> for this blog. Even provide a brief review? I know I've got some first years reading this blog and would definitely find it useful if this thing could crop up every now and then?<br />
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Any comments or ideas?</div>
Anonymoushttp://www.blogger.com/profile/12138692433222658267noreply@blogger.com2Headingley Headingley53.818111 -1.569212tag:blogger.com,1999:blog-6489441706331392356.post-17651467589164086452013-11-10T23:05:00.002+00:002013-11-11T23:19:26.681+00:00Exhibition project: interpreting collectionsWhen I moved here from Canberra, Australia this past September, I was a bit nervous about how intensive and challenging the MA program in Art Gallery and Museum Studies would be at the University of Leeds. So far, I have been proven right about the rigorous program, but this intensity has been softened by its fun and interesting intellectual engagement. The challenges the program presents me with simply make the completion of each step more rewarding. <br />
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The first day of the program included an introduction to our exhibition project for the Stanley and Audrey Burton Gallery. Imagine my concern when I learned the details: <br />
<ul>
<li>12 brand new masters students </li>
<li>5 weeks </li>
<li>2 display cabinets </li>
<li>141 pieces of Yorkshire pottery </li>
<li>£50 </li>
</ul>
The organisation of our exhibition was formed around deadlines for our ‘client’ (the gallery), formal learning sessions and informal group planning meetings. <br />
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The formal learning sessions with University Research Fellow extraordinaire Helen Graham got us thinking about how to bridge the gap between the objects and our audience. This informed the interpretation strategies we used in our exhibition. <br />
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The main interpretation tool which we found invaluable in our process was the development of a ‘Big Idea’. We used several of the strategies suggested in Beverley Serrell’s <i>Behind It All: A Big Idea in Exhibit Labels: An Interpretative Approach</i>. The ‘Big Idea’ can be summed up as a clear and concise idea that we are delivering to the audience, an idea that the visitor can easily recognise in the exhibition and something that they can take away with them. Basically, an exhibition isn’t successful if you can’t recognise the message that the curator is trying to deliver! The ongoing dialogue of a successful exhibition has the following elements: <br />
<ul>
<li>Big Idea or Theme (objects) </li>
<li>Interpretation strategies </li>
<li>Audience </li>
</ul>
Taking all of this into account, we began thinking about the collection of objects we had to work with and conducted preliminary research on Yorkshire pottery. We made our first selection of 25 objects for our handling session with Curator Layla Bloom and the gallery staff.<br />
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<tr><td class="tr-caption" style="text-align: center;">Collection handling session</td></tr>
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Brainstorming for our ‘Big Idea’ began, and we discovered a common thread of interest amongst our group members was the function and use of the quirky ceramics. We have all seen plates, teacups, teapots and bowls, but what about the jelly moulds, pickle dishes, spice castors and knife rests? Today, we can scarcely even recognise these objects, let alone consider putting them on our tables. <br />
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We divided our group into different teams responsible for research, writing, marketing and display with myself as the group organiser. The research group began the contextual research, in which they made informative excursions to the <a href="http://www.doncaster.gov.uk/sections/leisureandculture/museumsandgalleries/ourcollections/Yorkshire_Pottery.aspx">Doncaster Museum</a>, Leeds City Museum, Leeds Central Library Special Collections and the Leeds University Library Special Collections. </div>
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The contextual research that our team conducted allowed us to compose our title and confirm our ‘Big Idea’, tag line and audience. <br />
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<b>Title </b><br />
From Pantry to Table: The Preparation and Presentation of Food in 18th and 19th Century Yorkshire <br />
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<b>Big Idea </b><br />
Ceramics were essential for fine dining in Yorkshire during the 18th and 19th centuries. <br />
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<b>Tag Line </b><br />
The exhibition showcases ceramics essential for the ideal fine dining experience in Yorkshire during the 18th and 19th centuries. The collection highlights objects significant in the creation and storage of food, as well as those used for display and table decoration. <br />
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<b>Audience </b><br />
We determined our target audience for the exhibition based on consideration of the existing audience research conducted by the gallery. We decided the display did not have enough scope to attract a new audience, so we targeted the over-55 age group and those with an interest in cooking, dining and tableware. We hoped to evoke nostalgia by presenting familiar objects and to encourage engagement with the unfamiliar. </div>
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Once we had established the foundations of our exhibition, we began to structure our interpretation hierarchy. We had a great session with Michael Terwey, Head of Collections and Exhibitions at the National Media Museum, during which we learned how to develop and implement an interpretation plan. </div>
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<tr><td class="tr-caption" style="text-align: center;">Our final interpretation plan, with the Big Idea featured along the top of the board</td></tr>
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<b>Interpretation Strategies </b><br />
Each of our groups implemented the use of interpretation strategies to reach our audience. Our main strategies were:<br />
<ul>
<li>conducting research about the Stanley and Audrey Burton Gallery's principle audience </li>
<li>composing clear, concise text to accompany our display, including an introductory panel, laminated page, and individual labels </li>
<li>creating icons to establish visual links between our texts and displays </li>
<li>developing consistent 'branding' used on all printed materials (both on marketing materials (leaflets, advertisements, and emails) and in the exhibition itself</li>
<li>distributing promotional leaflets to locations frequented by our prospective audience </li>
<li>contacting and liaising with local cultural organizations </li>
<li>raising curiosity through the 'mystery object' postings on our Facebook page </li>
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<tr><td class="tr-caption" style="text-align: center;">Preparation icon</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYpVQGbVkeb2Kukl5GrBfS_Rf7mGB0hbJ9sbtmRDKjnQePP6OYxN8R_LCbUSg2zDNgkfAoAu2Nnca4_qr9V8vm3Mx9bXZkCPI3xYGUyS-wNtLzeM64POlgTVZjD9PqEfYRv4DUaWA1No/s1600/Pres_Icons.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLYpVQGbVkeb2Kukl5GrBfS_Rf7mGB0hbJ9sbtmRDKjnQePP6OYxN8R_LCbUSg2zDNgkfAoAu2Nnca4_qr9V8vm3Mx9bXZkCPI3xYGUyS-wNtLzeM64POlgTVZjD9PqEfYRv4DUaWA1No/s200/Pres_Icons.jpg" width="197" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Presentation icon</td></tr>
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This opportunity to practically apply the theory we have been learning in our modules has been an extremely valuable experience. Our exhibition, ‘From Pantry to Table’, opened on the 29 October with a private viewing and will be open at the Stanley and Audrey Burton Gallery, Parkinson Building, University of Leeds until 7 December, so please do take a look. </div>
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We are now moving on to the visitor feedback stage of the project so any feedback you have would be greatly appreciated and prove very valuable to our learning experience. Also, <a href="https://www.facebook.com/pages/From-Pantry-to-Table/197850860402087?ref=hl">Like us on Facebook</a>!</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqvzS66EV6tkOz_Sv8WDcfd83atXmajZ5XWYvJ7AgWNpnHrci9OlBlmqYKV6vNKzJ80m5RC91aMTDY7y0k4-u7xp9Xe50aeBVl6cMWndc9OsXrrmKCDPaD08dKfkrCF-Wt00oN6zHiuTA/s1600/FromPantryToTable.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqvzS66EV6tkOz_Sv8WDcfd83atXmajZ5XWYvJ7AgWNpnHrci9OlBlmqYKV6vNKzJ80m5RC91aMTDY7y0k4-u7xp9Xe50aeBVl6cMWndc9OsXrrmKCDPaD08dKfkrCF-Wt00oN6zHiuTA/s640/FromPantryToTable.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Pantry to Table marketing leaflet</td></tr>
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Our exhibition shares the Stanley and Audrey Burton Gallery's education space with '<a href="https://www.facebook.com/throughthekeyholeCamdenTownGroup">Through the Keyhole: The Camden Town Group Re-interpreted</a>’, a display of works on paper presented by our fellow classmates. Their exhibition offers a thought-provoking look at how this group of Edwardian male artists portrayed working class women in the domestic space. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbJix-mCJV1tq3w6kKelAeUYIOHVKkXMVC6MOyHcBQtQwUjjTJqamb4uLTpkiN_AiZhtX3z071dHYpmFln22RuyQG-06Gya1TVDB6BlRH0ICBIDMeNVinC-FN-sVKTf-NjoQ0fXg5Lmk/s1600/img_0414.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbJix-mCJV1tq3w6kKelAeUYIOHVKkXMVC6MOyHcBQtQwUjjTJqamb4uLTpkiN_AiZhtX3z071dHYpmFln22RuyQG-06Gya1TVDB6BlRH0ICBIDMeNVinC-FN-sVKTf-NjoQ0fXg5Lmk/s640/img_0414.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ji Hyung, Rosie and Danielle on exhibition installation day</td></tr>
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Beverley Serrell (1996) Exhibit Labels: An Interpretative Approach. AltaMira Press, California. </div>
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Anonymoushttp://www.blogger.com/profile/18198818629400342010noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-68732463301207903462013-11-10T17:42:00.001+00:002013-11-10T17:46:09.851+00:00More on MA Museum Studies field trip to LondonThanks again to Dr Km Sloan, curator of prints and drawings, and curator of the Enlightenment Galleries at the British Museum for talking to the MA students about the development of the Enlightenment Galleries at the BM.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyv5lsSZR9EWNHjg7SDWzj75o-xv-M5Eh-sWbbPIjnyJjFu_afXeokQNh4JB8JHc77ECYFNoNJuqllxmmF2S5q0JhQfTZG3hud9SRzBW8OLH5FMrYKt1UNQaf03g4KQ7KZdUavydKH4fV_/s1600/ma+students+2013.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyv5lsSZR9EWNHjg7SDWzj75o-xv-M5Eh-sWbbPIjnyJjFu_afXeokQNh4JB8JHc77ECYFNoNJuqllxmmF2S5q0JhQfTZG3hud9SRzBW8OLH5FMrYKt1UNQaf03g4KQ7KZdUavydKH4fV_/s320/ma+students+2013.jpg" width="320" /></a></div>
Here's the group, with Kim explaining the interpretation in the Enlightenment Galleries - we all very much appreciated having such an expert on hand at the BM!<br />
Mark<br />
<br />Mark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-51463718230707204582013-11-09T16:29:00.001+00:002013-11-10T17:45:27.097+00:00Art Market London TripIt was a busy week this week - Thursday and Friday, with the Museum Studies MA students in London, at various museums (see Libby's blog entry below!)....we did a LOT of museums (as usual!)...and Monday with the BA students on the Art Market module for a walking tour of the 'cultural geography' of the London art markets of the 18th and 19th centuries....<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4yx-jHZn5PS6QgnWGv8x0-fGOSyW8AwEuXG-H5orPLNBi7ICVXk9zAYmHuqXILFoWoOnV8vkmRPbZ794xcUqp41DpT-_-MTgv_uX9R7hAfNn2YEwQn2EIjdFUTxTgZ2n9Nq2yIVv445Ee/s1600/ba+students+2013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4yx-jHZn5PS6QgnWGv8x0-fGOSyW8AwEuXG-H5orPLNBi7ICVXk9zAYmHuqXILFoWoOnV8vkmRPbZ794xcUqp41DpT-_-MTgv_uX9R7hAfNn2YEwQn2EIjdFUTxTgZ2n9Nq2yIVv445Ee/s320/ba+students+2013.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BA students at Christie's Auction Rooms in London</td></tr>
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We did a big perambulation around St James's...and along Pall Mall...and up Bond Street...popped into Christie's, Sotheby's and various galleries, including PACE, Fine Art Society..etc....<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc01dEG3J5MVMDpsSjazRUldhadxBH4SZOufIMO1Ny-_oc1A_s-HfmnmCdZTP9R68byS10inP7NJX19WSNOy5LejtQ9eOkyfhwXaPZA3SVNdpZNu4O4g_0HVmXyiNyCfdeuFCUd9afQYXv/s1600/ba+students+christies+2013.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc01dEG3J5MVMDpsSjazRUldhadxBH4SZOufIMO1Ny-_oc1A_s-HfmnmCdZTP9R68byS10inP7NJX19WSNOy5LejtQ9eOkyfhwXaPZA3SVNdpZNu4O4g_0HVmXyiNyCfdeuFCUd9afQYXv/s320/ba+students+christies+2013.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">More BA students at Christie's Auction Rooms, London</td></tr>
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Well done to the students for undertaking all that walking....!<br />
MarkMark Westgarthhttp://www.blogger.com/profile/04494408765028867932noreply@blogger.com1tag:blogger.com,1999:blog-6489441706331392356.post-38780436108057694122013-11-08T17:02:00.001+00:002013-11-10T17:43:40.780+00:00MA London Trip<div dir="ltr">
This is just a quick post, on behalf of everyone who came, to say thank you to Mark, Abigail and Helen for all the museums you took us to, the fascinating talks you gave/arranged for us and the conversations they inspired. We've had a great time (despite the sore feet!) We'll be blogging more about our thoughts on the trip soon.</div>
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Anonymoushttp://www.blogger.com/profile/11552708657589672560noreply@blogger.com2London, London51.511215 -0.1198244tag:blogger.com,1999:blog-6489441706331392356.post-35876734407453549462013-11-05T09:49:00.000+00:002013-11-05T09:50:49.891+00:00Henry Moore Institute Pyrotechnic Sculpture Conference 30 November 2013This one-day conference coincides with the Henry Moore Institute exhibitions Dennis Oppenheim: Thought Collision Factories, Jean Tinguely: Spiral and Stephen Cripps: Pyrotechnic Sculptor. All three sculptors extended the boundaries of sculpture not only by employing purpose-built mechanised objects and kinetic contraptions, but also through pyrotechnics. Each turned to fireworks, explosives, flares, fires and other kinds of combustibles and detonations to make temporary sculptural works, the sparks of which shone brightly across the landscape of contemporary sculpture in Europe and North America during the 1960s, 1970s and 1980s. <br />
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Fire, flare and smoke were all harnessed for visual, sonic, material and spatial effects, in fascinating, ambitious and imaginative ways, with associations and meanings that extend well beyond their more literal ‘dematerialising’ qualities. This conference will consider examples of pyrotechnic sculpture found across the modern and contemporary period, through original research on the deployment of kinetic sculptural form and use of activated assemblage, accounts of temporality and ephemerality, the conjunction of object and event, modes of staging, display and re-display, and the on going life of this work today. <br />
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10.30am <br />
Reception – Registration<br />
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10.45am-1pm <br />
Seminar Room<br />
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Welcome<br />
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Katinka Seeger (Christian-Albrechts-University of Kiel)<br />
‘Explosion as an Artistic Tool’<br />
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Marin Sullivan (University of Leeds)<br />
‘Purging by Fire: Alberto Burri, Arte Povera, and Postwar Italian Art’<br />
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Claire Louise Staunton (Flat Time House)<br />
‘The Act of Burning, Exploding and Destruction in John Latham’s Sculptural Work’<br />
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1pm-2pm<br />
Boardroom – Lunch<br />
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2pm-4.15pm <br />
Seminar Room<br />
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Mari Dumett (The Fashion Institute of Technology, NYC)<br />
‘The Volatile Matter of Jean Tinguley’s ‘Homage to New York”<br />
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Rozemin Keshvani (Independent Writer/Curator)<br />
‘Five Artists – The use of Explosives and Gun Powder to produce Transient Installation and Sculptural Works’<br />
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Ursula Ströbele (College of Fine Arts, Berlin)<br />
‘Sculpture as Performance? Pyrotechnics in the work of Anish Kapoor, Roman Signer, Cyprien Gaillard, Andreas Greiner and Armin Keplinger’<br />
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4.15pm-5pm <br />
Boardroom – Tea/coffee<br />
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5pm-6pm <br />
Seminar Room<br />
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Artist Michael Landy in conversation with Richard Calvocoressi<br />
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Tickets £10/£5 concessions. <br />
Bookings can also be made via our website: <a href="http://www.henry-moore.org/hmi/events/pyrotechnic-sculpture/book-a-place-at-this-conference">http://www.henry-moore.org/hmi/events/pyrotechnic-sculpture/book-a-place-at-this-conference</a>Anonymoushttp://www.blogger.com/profile/16849999855239565411noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-47343597436545951822013-10-30T23:14:00.001+00:002013-11-01T09:57:45.146+00:00Reith Lectures 2013 – ‘Nice Rebellion, Welcome In!’<div style="text-align: justify;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Grayson
Perry: Playing to the gallery</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"></b><u>‘Nice Rebellion, Welcome In!’</u> (Episode 3 of 4)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This year the BBC Reith Lectures
delve into our increasingly globalised landscape, characteristic of the
twenty-first century, exploring the implications that this has on the role and
place of art in contemporary society. The series delivered by Turner-Prize
winning artist Grayson Perry tasks us with such topics as ‘what is the role of
art today?’, ‘what are the limits of contemporary art?’, ‘how are judgements
made about quality and who makes them?’<o:p></o:p></span></div>
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<span style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Grayson Perry has
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to address and define the nature of what art is and question its parameters. ‘Nice
Rebellion, Welcome In!’, instead tackles the nature of the role of art today. </span>The third Reith Lecture in the series,
broadcast from Londonderry’s Guildhall, the UK’s City of Culture 2013 poses the
question ‘<span style="color: #262626; letter-spacing: -0.7pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Is revolution in art
dead?’ To what extent does the consideration of ‘revolution’ as a defining
concept in art and calling card of avant gardism still hold weight in the world
of contemporary art or are artists simply perpetuating what has already been
done?<span style="mso-spacerun: yes;"> </span>In an age of mainstream media
where we are forever being bombarded with imagery, Perry asks if art has lost
its ability to shock - have we really seen it all before?<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There is a tendency to hold up ‘art’
as a kind of melting pot of innovative newness, yet contemporary art often falls
victim to the fad in a futile search for the next new thing. The once
outrageous and subversive rapidly diffuse into the everyday – revolution commodified.
Its representation in mainstream media tells us that it is avant garde or
cutting edge or revolutionary, that the artists who produce it are radical,
that the galleries that show it are game-changing. A new paradigm is always
being set by these shows that ‘everyone’ is talking about, the hype in turn further
perpetuated by the media. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Perry claims that we have now
reached the ‘end state’ of art, that since the mid-sixties and early seventies
artists have run out of things to try, producing a state where anything can be
art. He goes on to argue that this doesn’t mean the end of art itself, just the
end of this notion that it is still possible to step beyond the boundaries of
what art can be. Can there still be originality in art, or is innovation now only
a form of tweaking? – certainly a dilemma for the post(post)modern artist. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Perry describes this concept of
revolution as being fundamental to the idea of being an artist and by extension
the very DNA of art itself, yet revolution in art has ceased to be the defining
idea. In light of this, where is art situated in our culture today? Has art now
reached a state where we have finally run out of ‘isms’? If the twentieth
century was ‘the age of manifestos’, what will come to define the twenty-first
century or has the art world already stepped into the breach with a whole host
of new ‘isms’? Pluralism...Globalism...Commercialism...<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Perry considers the possibly that
now is it technology that has replaced art as a source of innovation and as capable
of inciting revolution. In a role reversal art now follows technology rather
than leads it. He asks if technology changes the way that we look at art and
what this means for the status or role of art (and the artist) in society.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Art will inevitably continue to
evolve, yet perhaps the role of art in contemporary society is shifting and
that which shocks or provokes revolution is the task of culture beyond the art
world...is the age of the avant garde truly over?<o:p></o:p></span></div>
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<span style="color: #262626; font-family: Arial, Helvetica, sans-serif; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">‘Nice Rebellion, Welcome In!’ is now available
to download from BBC Radio4 <a href="http://www.bbc.co.uk/programmes/b03f9bg7">http://www.bbc.co.uk/programmes/b03f9bg7</a></span></div>
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<span style="color: #262626; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">The fourth and final lecture in the
series ‘I Found Myself in the Art World’ will be broadcast Tuesday 5<sup>th</sup>
November, 09:00 BBC Radio4.</span><span style="font-family: Times New Roman, serif; font-size: large;"><o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/14810604208747594133noreply@blogger.com0tag:blogger.com,1999:blog-6489441706331392356.post-60877112108518989432013-10-29T08:51:00.002+00:002013-10-29T12:58:56.555+00:00'Imaginary Exhibitions' conference at the Henry Moore Institute 6-7 November 2013***Only £5 for students*** Book <a href="http://www.henry-moore.org/hmi/events/imaginary-exhibitions/book-a-place-at-this-conference">HERE</a><br />
<br />
This two day conference explores imaginary exhibition projects, ranging from the utopian to the tentative, the immaterial to the highly materialised, through to those hampered by logistics or inscribed with impossibility from their inception.<br />
<br />
This is a development of the Institute’s on-going research into 'Sculpture and its Exhibition Histories'. Through this project we address how developments in sculpture have impacted upon the spaces of exhibition, how the material conditions of the display of sculpture have played increasingly important roles in the meaning and making of sculpture as an art form, how the modes of presenting sculpture have shifted and how curatorial practice has impacted on the understanding of sculpture, and vice versa. <br />
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This conference seeks to look beyond formal records and more familiar images of sculpture and exhibitions by looking at the place of the 'imaginary exhibition' within this narrative. The motives and scales of such projects vary and instances of these 'imaginary exhibitions' are to be found internationally, across the modern and contemporary period. This turn to the ephemeral, invisible and ill-fated will draw out the eccentric and idiosyncratic in the shadows of art history, as opposed to the more usual highly-polished exhibition surface.<br />
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<b>Wednesday 6 November </b><br />
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11.30-1: Session 1: The Imaginary Spaces of 1930s sculpture <br />
Chair: Jon Wood (Henry Moore Institute)<br />
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Annabelle Goergen-Lammers (Hamburger Kunsthalle)<br />
‘Alberto Giacometti: Progetti Per Cose Grandi Nel Aperto’<br />
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Sophie Martin (University of Bristol)<br />
‘‘Constructing Space’: Transcribing sculpture in Circle; International Survey of Constructive Art (1937)’ <br />
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1-2: Lunch in boardroom<br />
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2-3.30: Session 2: Sculpture’s Staging and Scenography<br />
Chair: Lisa Le Feuvre (Henry Moore Institute)<br />
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Paola Nicolin (Luigi Bocconi University)<br />
‘The ‘Me’ You Will Never See: Maurizio Cattelan Backstage Exhibition at Guggenheim New York’<br />
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John C. Welchman (University of California, San Diego)<br />
‘Rigging: The Imaginary as Studio-Production in the work of Paul McCarthy’<br />
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3.30-4.15: Tea in boardroom<br />
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4.15-5.45: Session 3: Exhibitions without sculptures<br />
Chair: John C. Welchman (University of California, San Diego)<br />
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Filipa Ramos (Independent Curator) <br />
‘I Would Prefer Not To – A Taxonomy of Artists Without Works’<br />
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Jeremy Millar (Artist/Royal College of Art) <br />
‘Sculpture of the Space Age’<br />
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5.45-7: Wine reception and publication launches: Sculpture and the Vitrine and My Life by Anton Lesseman, with John Welchman and Paul Becker, respectively<br />
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<b>Thursday 7 November</b><br />
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9.30-11: Session 4: Unrealised and invisible exhibitions<br />
Chair: Rebecca Wade (HMF Post-Doctoral Fellow, Henry Moore Institute)<br />
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Tania Doropoulos (Royal College of Art)<br />
‘The 1959 Situationist International Dynamic Labyrinth at the Stedelik Museum’ <br />
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Dawna Schuld (Indiana University)<br />
‘Nothing to Show for It: Art and Technology in the age of de-materialization’<br />
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11-11.30: Coffee break<br />
<br />
11.30-1: Session 4: Invisible and unrealised exhibitions<br />
Chair: Lisa Le Feuvre (Henry Moore Institute)<br />
<br />
Birgit Eusterschulte (Freie Universität)<br />
‘From a Measured Volume to Indefinite Expansion: Robert Barry’s Presentation of Inert Gas Series in California’<br />
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Penelope Curtis (Tate Britain)<br />
On not exhibiting Robert Morris’ work <br />
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Lunch 1-2pm<br />
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2-3.30: Session 5: Photographic and digital imaginary exhibitions<br />
Chair: Uta Kogelsberger (Newcastle University) <br />
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Magdalena Wroblewska (Kunsthistorisches Institut in Florenz, Max-Planck-Institut)<br />
‘‘Le muse imaginaire’: between material object and its virtual representation’<br />
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Angela Bartholomew (Vrije Universiteit)<br />
‘Marble Public and the Agency of Media(tion)’<br />
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3.30: End of conferenceAnonymoushttp://www.blogger.com/profile/16849999855239565411noreply@blogger.com2tag:blogger.com,1999:blog-6489441706331392356.post-23587507930787045212013-10-24T13:35:00.001+01:002013-11-01T09:58:31.850+00:00Reith Lectures 2013 - 'Beating the Bounds'<div style="text-align: justify;">
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<b style="mso-bidi-font-weight: normal;">Reith Lectures 2013<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;">Grayson Perry: Playing to the gallery<o:p></o:p></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><u>‘Beating the
Bounds’</u>
(Episode 2 of 4)<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">The 2013 series sees an
exploration of the role and place of art in the global landscape today,
addressing a wide range of issues and questions concerning the role of art in
society, the limits of contemporary art and how judgements are made about
quality.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ESGM5lnTecgWdtG4n6Mr8mXoNOGTFStMyNA1NxNtQE9eBiXNVOmSjbq39gnE7O1nS2fDyX8S3Bcp0E4sz4aJ_aWGdb13e6zYJc4w_pm5yNk_V-t6VXLLZvQHs6y4LPrDLDxBnigXRrc/s1600/Reith+Lectures+Playing+to+the+Gallery.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2ESGM5lnTecgWdtG4n6Mr8mXoNOGTFStMyNA1NxNtQE9eBiXNVOmSjbq39gnE7O1nS2fDyX8S3Bcp0E4sz4aJ_aWGdb13e6zYJc4w_pm5yNk_V-t6VXLLZvQHs6y4LPrDLDxBnigXRrc/s640/Reith+Lectures+Playing+to+the+Gallery.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Grayson Perry has created a series of drawings exclusive to the 2013 Reith Lectures.</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><o:p></o:p></span><span style="line-height: 115%;">In this second
instalment from this year’s Reith lecturer Grayson Perry, broadcast from St.
Georges Hall, Liverpool, Perry examines what the boundaries of art are, or
rather what constitutes art. What exactly does and perhaps equally importantly
does not qualify as contemporary art? Has this question been answered already?
Perhaps the art world would argue that it has. Perry points out that today
there is an almost complacency about this fundamental question – Is this art? –
with a widely circulated notion that anything can be art now in a ‘post-post
modern’ society, the end of art where absolutely anything goes...<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">
<span style="line-height: 115%;">The crux of Perry’s
second lecture argues that there are boundaries that remain with regards to
what can and cannot be art; however the limits are now blurred. Perry suggests
that the boundaries that remain lean towards (in his words) the ‘sociological,
tribal, philosophical and even financial’. </span><span style="line-height: 115%;">What are the
motivations for making art? Obviously there’s the ‘art for art’s sake’ claim,
but also the economic incentive of proclaiming something as art is difficult to
ignore, with so much money changing hands in the art market.</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">
<span style="line-height: 115%;">It is one thing to
categorise something as being art, but is it possible to negate an object
deemed a work of art and make it non-art once again? Perry suggests that a work
of art perhaps is no longer a work of art once it becomes famous and takes on
an almost celebrity-like persona (such as the Mona Lisa), or once it is only
viewed in terms of is monetary value above all else and becomes as Perry eloquently
puts it ‘a great lump of money on the wall’. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">The concept of art and
what could and couldn’t be considered art was widely taken for granted until
the arrival of modernism and artists started to question the nature of art and Duchamp
and his ‘readymades’ opened up the possibility for anything to be art if the
artist declares it as such. Since the 1960s anything can be art and art has
become a very broad concept, where shock-value has become commonplace and
increasingly extreme. Yet, the idea of the ‘traditional’ still pervades, with painting
and sculpture retaining their status as ‘high art’.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">Perry breaks down the
boundaries of what is and what isn’t art with a checklist or recipe for an
artwork... and here they are:<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">
<span style="line-height: 115%;">Grayson Perry’s
‘boundary markers’ for whether or not something is art...</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">1.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">Is it in a gallery or an art context? </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">2.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">Is it a boring version of something
else? (idea that art is not pleasurable)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">3.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">Is it made by an artist? </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">4.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">Photography – <u style="text-underline: double;">Problematic</u> (how do you tell if a photo is art? – size, subject,
value)</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">5.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">Limited edition test </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="line-height: 115%;"><span style="mso-list: Ignore;">6.<span style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><span style="line-height: 115%;">The handbag and hipster test (who are
the people looking at the ‘art’ – rich and educated?)</span></span></div>
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<span style="font-family: Times, "Times New Roman", serif;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">7.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Theme Park + Suduko (Are people queuing
to look at it?)</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;">
<span style="font-family: Times, "Times New Roman", serif;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">8.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Rubbish dump test (Throw it on a rubbish
dump and if people walking by notice it’s there and wonder why the ‘art’ is
there)...except if the rubbish dump is itself the art!</span></span></div>
<div class="MsoListParagraphCxSpLast" style="margin: 0cm 0cm 10pt 36pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18pt;">
<span style="font-family: Times, "Times New Roman", serif;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">9.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The ‘Computer art’ test (Is it
frustrating and does it make you pause and think rather than simply react)<o:p></o:p></span></span></div>
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<span style="font-family: Times, "Times New Roman", serif;">
</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"><span style="font-family: Times, "Times New Roman", serif;">These novel criteria for
working out if something is art demonstrate that boundaries are formed not by
what art can be but instead where, who or why it is art.<o:p></o:p></span></span></div>
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</span><span style="color: #262626; font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Times, "Times New Roman", serif;">‘Beating the
Bounds’ is now available to download from BBC Radio4 <a href="http://www.bbc.co.uk/programmes/b03dsk4d">http://www.bbc.co.uk/programmes/b03dsk4d</a></span></span></div>
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<span style="color: #262626; font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="font-family: Times, "Times New Roman", serif;">The third lecture
in the series ‘Nice Rebellion, Welcome In!’, will be broadcast Tuesday 29<sup>th</sup>
October, 09:00 BBC Radio4.<o:p></o:p></span></span></div>
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Anonymoushttp://www.blogger.com/profile/14810604208747594133noreply@blogger.com1tag:blogger.com,1999:blog-6489441706331392356.post-72281764328564526802013-10-22T15:32:00.002+01:002013-10-23T11:00:43.186+01:00Visiting Artist Talk | Penelope Curtis | 23.10.13<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_NdgUpj4ae9bQbAICOH_hxPjS1mIY-5NEiVhjFby0pq5RTkXwU6IW93sFq72bJCrAdf7GnC_-5PZHaFx164iej8kO5pO0tFhzl56pFpnbBbTfC33W1YMCXFf4TnVCwxCTst-HoVUh5dU/s1600/Screen+Shot+2013-10-22+at+15.32.04.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_NdgUpj4ae9bQbAICOH_hxPjS1mIY-5NEiVhjFby0pq5RTkXwU6IW93sFq72bJCrAdf7GnC_-5PZHaFx164iej8kO5pO0tFhzl56pFpnbBbTfC33W1YMCXFf4TnVCwxCTst-HoVUh5dU/s1600/Screen+Shot+2013-10-22+at+15.32.04.png" /></a></div>
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