Recent Submissions

  • The Road to Rumbola

    Jones, David. (Mark Rothko Institute, Daugavpils, Latvia, 2016-09)
  • Shaping Ceramics: from Lucie RIe to Edmund de Waal

    Jones, David (Jewish Museum, London, 2016-11)
  • My name is Nobody

    Jones, David (Grassi Museum, Leipzig, Germany, 2017-06)
  • Island Life

    Timberlake, John (2003)
    This sequence of photographs expanded upon some of the themes of constructed landscape and fantasy touched upon in the “Another Country” series in the context of the fictional construction of time and place. This time in the context of a sequence in which the shifting conventions of painting were deployed as a signifier of that which could not be photographed directly. The photographs explored tropes of the overlooked or marginal depopulated landscape, and combined this with imagery of the seashore (a repeated trope in fantasies of time travel) to represent in a sequence of photographs the ‘as yet unphotographable’, the passage of time over several hundred years. In this the series addressed the relationship between painterly realisms and the evidentiality of locational topographic photography.
  • Forgotten Cameras and Unknown Audiences: Photography, The Time Machine and the Atom Bomb

    Timberlake, John (Cambridge: Scholars Press, 2005)
    Timberlake’s research focuses upon the tension between realism and imagination that is produced when viewing photographic evidence of scientifically informed events. The chapter takes as its starting point two narratives of science fiction and fact involving the camera in a pivotal role. The forgotten Kodak camera which HG Wells’s time traveller refers to in and which, via negativa, plays a key role in the way the story is told and received by its fictional audience. This is examined in relationship to the photographic record of nuclear weapons development and testing, reflected in books such as George Dyson’s Orion, the Atomic Powered Spaceship (2002) and Richard Rhodes’s The Making of the Atomic Bomb (1986).
  • Colony

    Timberlake, John (2007)
    A solo exhibition of 10 framed photographic ink jet prints with drawing (108cm x 86cm). The installation addresses issues of realism and fiction in photography, and the construction of utopias and dystopias through the conceits of paradigms of realism, furthering Timberlake’s work concerning humanity, science and landscape. Timberlake is specifically interested in what kind of truths we expect from photography and drawing, in the context of his continued engagement with landscapes of the imaginary, and the role of photography in the construction of histories. In this series contrasts in scale and grids were combined with shifting perspectives to create compelling, unsettling and provocative images. The use of a large format rail camera allowed for an extended plane of focus and angled horizons similar to that of aerial photography; albeit over a very small patch of photographed land. In this way a field of detail was produced with a fragmented map of imagined spaces replacing the figure/ground dyad seen in some of the earlier work (for example the “Another Country” series). In this way Timberlake has sought to bring into question the position of the viewing subject.
  • Another Country

    Timberlake, John (2002)
    Solo exhibition of C-type prints, examining our visual and cultural relationship to the atom bomb.The interrelationship between constructions of landscape, constructions of history and the politics of landscape are explored through the legacies and tropes of the nuclear test photograph from the archives of the Imperial War Museum, English landscape painting and forms reflective of the popular imaginary. Through a process of juxtaposition and construction the work examines conceptions of truth; how they were to be derived, positively or negatively, from painting, model-making and photography. The series therefore comprised photographs of constructed dioramas, model figures and a painted backdrop depicting Romantic landscapes and nuclear clouds.
  • Show Flat

    Jordan, Mel; Hewitt, Andy (2003)
    “Showflat” examined the critical and complicit roles of culture within the future planning and redevelopment of Sheffield. The artists’ intent was to redevelop their studio space into a studio apartment, predicting changes due to urban regeneration. The artists’ studio was situated in a rapidly changing area where creative industry had thrived in Sheffield. It was increasingly clear that most would be unable to afford increases in rent as corporate business and inner city housing developments began to be attracted by the ‘alternative’ reputation of the area. The intent of the work was to transform the studio into a space where a critical discussion could happen concerning the function of art within city planning.
  • Futurology: The Black Country 2024

    Hewitt, Andy; Jordan, Mel (2004)
    The collaborators developed, curated and organized an exhibition of work produced by artists and school children; all working together to examine the social-economic conditions of the Black Country. Informed by the histories of practitioners such as John Latham, Barbara Steveni, David Harding, Stephen Willats and others; the project was concerned with the relationship between arts practice, regeneration and education. The focus was upon conceptual thinking, rather than material output. Artists worked in collaboration with school children on issues concerning culture-led regeneration with the intent of questioning the role of children within such change. The artists explored and critiqued notions of collaboration and participation when aligned with the relationship between education and social control. Hewitt and Jordan began by negotiating enough critical space for the project to be attractive to nationally respected contemporary artists. They sought to convince Creative Partnerships to allow the artists to make a proposal without a brief. They matched the artists to appropriate schools where they then developed individual approaches to working with the students. In some cases, the young people became the subject of the work, and others encouraged them to take responsibility for the finished artwork.
  • Unrealised: projects 1997 – 2002

    Cornford, Matthew; Cross, David (Routledge (Taylor & Francis), 2005)
    With radical changes happening in arts over the past two decades, this book brings us up to date with the social and economic contexts in which the arts are produced. Influential and knowledgable leaders in the field debate how arts education - particularly in visual art - has changed to meet new needs or shape new futures for its production and reception. Opening up areas of thought previously unexplored in arts and education, this book introduces students of visual culture, peformance studies and art and design to broad contextual frameworks, new directions in practice, and finally gives detailed cases from, and insights into, a changing pedagogy. (Routledge)
  • Inside Outside

    Cornford, Matthew; Cross, David (Taylor & Francis, 2004)
    Cornford & Cross were invited to contribute a paper for a special edition of “Third Text” focused on collaboration. The article explored the limits of collaboration and the tolerance and intolerances of institutions in the wake of the museum’s incorporation of post-conceptual practice. Writing about their art practice and nature of collaboration in relation to the institution, Cornford & Cross questioned the privileging of the art object, and the role of artists primarily as being either to produce such objects for consumption, or to facilitate community involvement in urban regeneration. Cornford & Cross do produce objects, installations and images, and they do engage in a range of interactions with various organizations and groups. However, the distinguishing aspect of their practice is ‘action research’, a process of creative and critical collaboration, which may transform social relations.
  • Landscape, Ecology, Art and Change

    Collins, Tim; Goto, R. (Routledge (Taylor & Francis), 2003)
    The chapter expands the understanding of what urban means in relationship to nature and ecology, by examining a broad range of interdisciplinary thinkers. The collaborators explore the idea of “radical ecologies,” new ideas in the philosophy of the environment that can inform the work of artists interested in cities and the environment. The text provides a brief history of land preservation and conservation and the move toward land and ecosystems restoration. This is juxtaposed against the artists move into the landscape in sculpture and then toward ecosystems and more recently environmental planning. The juxtaposition leads to a synthesis resulting in a set of goals and objectives for a new integration of art in relationship to social and ecological issues. Researched by Collins, then discussed, jointly written and edited with a collaborator of twenty years. The chapter constructs a narrative of applied ecologies, cultural ecologies and emergent ideas in art and radical (socially transformative) approaches to ecology. The text examines the potential for emergent ideas in an ‘ecology of health’ to reconfigure dominant paradigmatic understandings of humanity and nature in aesthetic, social, political and legal terms. The role of art in this project is to be an intellectually catalytic force that works across disciplines and foundations of knowledge.
  • Post-Industrial Watersheds: Retrofits and restorative redevelopment

    Collins, Tim; Pinkham, R.D. (CRC press, Taylor & Francis, 2004)
    The chapter addresses watershed scale problems and how the concept of ‘restorative redevelopment’ was proposed and developed on the “Nine Mile Run Greenway project.” Continuing his interest in interdisciplinary approaches to art and design, Collins engaged Pinkham, a water policy expert at Rocky Mountain Institute. They worked on the “Nine Mile Run” watershed to examine the potential for alternative approaches to land use and stormwater management. They assembled a national team of interdisciplinary experts with recognized expertise in art, stormwater, ecology, landscape design and public policy. The chapter describes the subsequent interdisciplinary design charrette that revealed new approaches to surface water and the policy issues that constrained such designs. Informed by stormwater regulations the project specified collaborative teams to work together developing innovative design, detention and retention schemes. Working from a specific construction budget, GIS maps, and onsite analysis the teams had to manage a ‘two year, 24-hour storm’. The text examines four sites, current policies and the resulting illustrated plans.
  • Towards an aesthetic of diversity

    Collins, Tim (Berkhäuser, Verlag, 2004)
    Collins’ chapter examines the question of aesthetics in artists’ work in the environment. The author hypothesizes that creative transformation has come unhinged from the impetus for primary authorship. Nature has come under full attack from the appetites of human culture and as a result the care for nature has become a cultural problem that must be addressed by the arts, sciences and the humanities. Working from a position of restoration ecology, the author makes a series of direct arguments for diversity as a standard aesthetic component, of social, environmental and economic systems. The text is framed within a specific history referencing scientists like E.O Wilson, and Gary Nabhan as well as environmental philosophers, landscape architects and other environmental practitioners. Also included in this text, are a series of full colour plates with descriptions presenting work done as principal investigator on “Nine Mile Run” and “3 Rivers 2nd Nature.”
  • And Millions and Millions

    Böhm, Kathrin (2004)
    "And Millions and Millions" is a large-scale collage-installation that is manipulated and created by the participating gallery audience; by fixing sheets of paper with recurring geometric designs to the walls of the gallery. The work sets out to explore how an abstract visual language that derives from painting and ideas from site-specific work can be used to facilitate and demonstrate the ad hoc appropriation of a given physical space. The work questions the idea of art works in museums and galleries being static objects, and places the audience in the position of producer. By challenging the idea of solo authorship, technical skill, formal originality and inviting the viewer to add further elements to the installation, the work relates to theories explored in Nicolas Bourriaud’s books “Post-Production” and “Relational Aesthetics”. The material (printed paper) and facilities to do this are an integral part of the installation. The work is intended to proliferate into chaos over the duration of the exhibition and is never resolved.
  • If you can't find it, give us a ring - public works

    Böhm, Kathrin (Ixia, 2006)
    The publication deals with the collaborators interest in, art, architecture and collective practice; which is the basis of their socially engaged work within communities. The book focuses upon their process of making, shaping and ‘letting go’ of public spaces. The publication features an interview between Kathrin Böhm, artist and Andreas Lang, architect of Public Works, and Prof John Butler and Janet Hodgson from the University of Central England, Birmingham. It also includes an essay “Working with Uncertainty Towards a Real Public Space” by Doina Petrescu, School of Architecture, University of Sheffield. “If you can’t find it…” is one of three books commissioned by IXIA (the others feature Lucy Orta and Richard Woods) which address new thinking in public art. The text articulates (and the drawings make visible) the different spatial aspects involved in “Public Works” collaborative and participatory art/architecture practice. The focus of the publication is upon the project “Park Products” at the Serpentine, as a case study. The question was how to best document a dynamic, process-based social process, without relying upon textual narrative alone. The text and images included in the publication present the maps and drawings, which the group deployed for Park Products. This offers the reader a unique and primarily visual insight into the way Public Works go about planning, engaging communities and then realising a project within a public space.
  • The Spatiality of Informal Networks

    Böhm, Kathrin (2006)
    A year-long travelling exhibition; the work consists of a designed meeting space and display system; which was the setting for a series of public workshops, commissioned as part of the British Art Show 06. This meeting/display system provided a structure to display past work and the means to reveal the growing archive as they developed through contribution and use. The project set out to address how collaborative, process based art and architecture practice is accurately represented within institutional art spaces; meanwhile creating opportunities and occasions for artists, architects, curators and planners to meet and discuss related ideas. Once the exhibition display was designed and constructed to reflect the planned programming, the collaborators used it as the setting to facilitate public workshops in each city, for example: “Art and the Corporate Space” at The Baltic, Gateshead - with Karolin Timm Wachter, Curator Internal Cultural Projects, Siemens Arts Programme; Adam Lopardo, Director, Sponsors Club for Arts & Business; and Piers Masterson, Public Art Officer, Sunderland. “Participation in Design”, Bristol Architecture Centre - with Claire Doherty, Director, Situations, University of the West of England; and Lucy Byatt Director, Spike Island.
  • Park Products

    Böhm, Kathrin (2004)
    A series of collaboratively produced products using resources from Kensington Gardens, Hyde Park London presented in a mobile market stall and exchanged for small tasks to be done around the park. Working from positions of art and architecture, the project set out to design a new prototype for cultural exchange within public space by asking the following questions: What cultural, social and material resources are associated with the Serpentine Gallery? Can the production of cultural products and services find sustenance through non-monetary communication-based exchange? Strategies included collaborations with product designers on the design and production of artefacts made from material supplied by the Royal Park ground staff. This led to relationships and negotiations with involved institutions on issues of intellectual copyright, project evaluation and project legacy. The project engaged the public through principals of informal economics; resulting in the exchange of park-labour for products plus discussions on art/architecture collaboration, cultural production and public participation.
  • How buildings learn / Civilization and its Discontents

    Cornford, Matthew; Cross, David (2004)
    Two site-specific installations, “How Buildings Learn” and “Civilization and its Discontents” were created for “Values - 11th Biennial of Visual Arts”, Pancevo, Serbia. The context of the Biennial was the degraded economy, polity and culture of former Yugoslavia, following a civil war of ethnic cleansing, nationalist dictatorship, economic embargo and a NATO bombing. The installations advanced knowledge by stimulating public debate on the relationship between art, the social contract and the limits of political obligation. These ideas have subsequently reached a wider audience through photographic documentation of both works. For “How Buildings Learn”, Cornford & Cross made use of ready-made material in the form of documents and books from the Public Records Office to block a doorway within the actual building. The tight-packed book surface belied its dense mass of material, and the labour that produced it. “How Buildings Learn” acted as a paradoxical sign: both for the futility of all effort, and for the painful work yet to be done in relating history to memory. “For Civilization and its Discontents” the artists signalled a call to anarchy, from a position of security as foreign nationals. The flags, five feet square, referred to Ad Reinhardt’s black paintings, which relate to his interest in Islamic art. By flying them from civic buildings throughout the city, the artists questioned the split between the philosophical ideal of anarchy and its political associations with destructive chaos.

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