Recent Submissions

  • Introduction to Special Edition: Therapeutic Cultures

    Apperley, Alan; Jacobs, Stephen; Jones, Mark (Linköping University Electronic Press, 2014)
  • Revisiting Dearing: Higher Education and the Construction of the ‘Belabored’ Self

    Apperley, Alan (Linköping University Electronic Press, 2014-11)
    Several authors have identified a ‘therapeutic turn’ in education in the UK, at all levels of the system. In this paper I focus on and develop this claim, specifically in relation to the Higher Education sector. I seek to do two things: First, I argue that the ‘self’ which is identified by commentators on the therapeutic turn needs to be reworked in the direction of McGee’s idea of the ‘belabored’ self. This is because the therapeutic turn serves, I argue, a set of wider economic goals arising from the restructuring of capitalism which followed in the wake of the oil crisis of 1973 and the subsequent breakdown of the post-war (1939-1945) consensus around the purpose of public policy, of which education is an important part. Second, I revisit an important document in the history of the UK Higher Education sector: the National Committee of Inquiry Into Higher Education’s 1997 report Higher Education In The Learning Society (known popularly as the Dearing Report, after its chair, Sir Ron Dearing). I argue that that the committee’s ambition to bring about a learning society characterised by lifelong learning played an important and neglected part in bringing about the therapeutic turn in higher education in the UK. The project of creating a learning society characterised by lifelong learning, advocated by the Dearing Report, should properly be recognised as an exhortation to embark upon a lifetime of labouring upon the self.
  • Design Probes for People with Dementia

    Garde, Julia Anne; Van Der Voort, Mascha Cécile; Niedderer, Kristina (Design Research Society, 2018-06-28)
    In order to include persons with dementia in the MinD project actively, design probes were developed to provide insight into their perspectives. We applied probes due to their exploratory character and participation through self-documentation. The aim of this paper is to reflect on the design of the probes in relation to the outcomes as a source of inspiration for designers. More specifically, we investigate the openness and tangibility of the probes, and their content relating to the past, the current or the future. The five participants completed the probes to a large extent. The openness of assignments influenced their completion and the resulting value for empathizing and inspiration for designers: More defined assignments led to more sharing of personal and sensitive information than very open ones. While crafty, tangible assignments were filled in more extensively than less tangible ones, the classical writing assignments resulted more often in more introspective and reflective information from participants. Furthermore, participants filled in assignments about past memories more extensively than those relating to future goals.
  • Topographies of the Obsolete - Site Reflections

    Heeney, Gwen (WABA exhibition Korea, 2015-01-01)
    Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry Topographies of the Obsolete is an artistic research project initiated by Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities/institutions in Denmark, Germany and the UK. In 2012 the British Ceramics Biennial invited KHiB to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes. The original Spode Factory, situated in the heart of Stoke-on-Trent, was once a keystone of the city’s industrial heritage, which operated upon its original site for over 230 years. Amongst Spode’s contributions to ceramic history are the perfection of under-glaze blue printing and fine bone china. In 2008 Spode’s Church Street site closed, with most of its production infrastructure and contents left intact. The site and its remnants has been the point of departure for the interdisciplinary artistic research of over 50 participating artists, historians and theoreticians over six residencies. Topographies is a framework, formulating topics and research strands which are treated as questions and approaches that are addressed through artistic practice. By honing in on the particular history and the singularity of this site, Topographies questions what is, and how can ceramic and clay be understood as both material and subject in contemporary art practice. How can we perceive the material (clay/ceramics) to be or constitute a site? Moreover, how do ceramics and clay form and construct our understanding of the site? This publication is the third in a series which documents responses and reflections to the original Spode site from both artists and theorists connected to the project.
  • Heygate Estate Sketches (Drawing)

    Read, Howard (UCL, Urban Laboratory, 2013-09-09)
  • Public Relations and Discourses of Professionalisation

    Williams, Sarah; Apperley, Alan (Tritonic, 2009-11-01)
  • The Konvas Autovat, The Toxic Camera (2012)

    Wilson, Jane; Wilson, Louise (Seoul Museum, 2016-09-01)
  • Azeville (2006)

    Wilson, Jane; Wilson, Louise (Tate Britain, 2014-03-04)
    Ruin Lust, an exhibition at Tate Britain from 4 March 2014, offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day. Ruin Lust will include work provoked by the wars of the twentieth century, including Graham Sutherland’s Devastation series 1940–1, which depicts the aftermath of the Blitz and Jane and Louise Wilson’s 2006 photographs of the Nazis’ defensive Atlantic Wall. Paul Nash’s photographs of surreal fragments in the 1930s and 40s, or Jon Savage’s images of a desolate London in the late 1970s show how artists also view ruins as zones of pure potential, where the world must be rebuilt or reimagined.
  • Mind The Gap: Developing Contexts for Practice

    Ayliffe, Maggie; Harris, Simon J.; Onions, Laura (Taylor & Francis, 2018)
  • Line & Surface

    Harris, Simon J. (Sarah Wiseman Gallery, 2016-06-11)
    An exhibition examining the work of Simon J Harris, Steven MacIver, Henrietta Dubrey and Mark Beattie, making connections across the fields of painting and sculpture. Simon J Harris paintings have a cinematic presence and are concerned with the idea of abstraction and place emphasis on interaction between the viewer and the surface of the artwork. Having recently completed his PhD in Fine Art Practice to high critical acclaim, Simon has thrown himself into an extraordinarily refined approach to his artistic practice. Working with intensely pigmented layers of oil on fine linen, he 'traps' the image in between the layers of the paint, creating a sumptuous high-gloss finish just like a piece of celluloid film. His paintings are large-scale with a potent, awe-inspiring presence.
  • Fully Awake, Forthcoming

    Harris, Simon J. (House for an Art Lover, 2017-11-02)
    House for an Art Lover is pleased to present Fully Awake, a group exhibition featuring work by over 30 artists that celebrates the intergenerational effects of teaching painting. Curated by Ian Hartshorne and Sean Kaye the show invites several artists to submit a piece of work, as well as invite two ‘guest’ artists to be presented alongside them; an artist that they have been taught by, and an artist that they have taught. This unorthodox approach creates engaging and surprising relationships between those participating. Fully Awake is a five part cycle of exhibitions. This is the second iteration, the first being presented in Leeds earlier this year. The cycle of shows eschews thematic, aesthetic or theoretical concerns but aims to reveal instead much deeper levels of incidental human, personal, psychological connections and occasional rejections between student and teacher.
  • Electric Cherry Blossom

    Harris, Simon J. (Sarah Wiseman Gallery, 2018-03-03)
    'Electric Cherry Blossom' was inspired by a recent visit Simon made to the Van Gogh Museum in Amsterdam. He is in essence concerned with painting as an act in and of itself, exploring the interplay between the recognisable and abstracted expression. His influences are varied; he cites Van Gogh and Japanese printmaking; Vermeer and Rembrandt; Cinematography. These influences all reference developments in our understanding and preoccupation with pictorial space, and how abstract, apparently empty spaces can carry so much more weight in a painting or an image than we might first realise.
  • A Duality of Sorts

    Stewart, Max (Bruntnell-Astley Gallery, 2017-08)
    A glass sculpture detailing my research into pate de verre and metallic salts. An investigation into the precise nature of glass paints made by the kiln firing process with metallic salts.
  • The Sense of My Screaming Skin: Manifesting My Bipolarity

    Stewart, Max (White House Cone Museum of Glass, 2017-08)
    An investigation into the nature of chemical serendipity within the kiln forming process using metallic salts and glass. Glass sculpture in international selected exhibition of contemporary glass artists who have a working and artistic relationship with Allister Malcolm – one of the UK’s leading glassmakers. The exhibition was in celebration of 25 years of his making glass artefacts. All participants were invited by Allister Malcolm to exhibit because of their considered impact on the contemporary glass world.
  • Split Head, Leather Mask

    Stewart, Max (Collect 17, Saatchi Gallery, 2017-02-02)
    An interrogation of the possibilities of fusing and casting metallic salts with coloured glass in the kiln forming process. Glass sculpture detailing my research into pate de verre casting and the use of metallic slats. A co-curated exhibition of international glass and ceramics.
  • Publication Review

    Stewart, Max (Intellect, 2014-10-01)
    FUSION: Glass Art of Shelly Xue (2013) Shanghai Museum of Glass, p/bk catalogue, 47 pp.
  • Painting, the Virtual, and the Celluloid Frame

    Harris, Simon J. (Oxford University Press, 2018-06-29)
    This chapter discusses and progresses through an aesthetic enquiry into a relationship between the virtual and the actual surface of painting. It is through the inherent temporality of both painting and cinema that the notion of a dynamic duration is interrogated. At the core of this investigative methodology the philosophies of both Henri Bergson and Gilles Deleuze are employed to examine how duration in painting can be experienced outside of the static recollection. Fundamentally this follows Deleuze’s seminal writing about the cinematic and the function of the image in relation to time. The author accepts Deleuze’s invitation to employ his concepts as a toolbox for dynamism. Thus a model is assembled in which the notion of the “recollection-image” and its relationship to the temporality of the “movement-image” is developed through the potential of the figural as a space between the figurative and the abstract in painting.
  • Fugitive Testimonies: an artist archive

    Fahy, Su (Auckland University of Technology, 2017)
    How does a whole society or nation remember or forget the age of analogue film photography and its methods of documenting memory and identity? Inspired by procedures such as the sixteenth-century artificial memory systems presented in the writings of Frances Yates, I examine in my research the workings and subversions of memory through appropriation and reworking of fragments from the analogue photographic archive. The material photographic print reminds us of fugitive memories of family, events, wars, propaganda, the role of witness and visual testimony. I construct new artificial memories from the gleanings of the flea market, second hand shops, the attic, the shoebox, and archival researches. The objects I encounter offer a haptic visual prompt for new works that pose questions of memory and artificial memory, and identity within the visual ecology of a fast-eroding analogue tradition. I present case studies that demonstrate the intimate scale and fragility of such photographic scraps, showing my re-working of found objects to create small visual series accompanied by narrative encounters with each of the photographs. In the process, I also indicate the unique contribution of studio culture in this complex tentative multisensory interrogation.

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