DOCSLIB.ORG

Bulletin 103.Pub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bulletin 103.Pub www.aah.org.uk For information on advertising,BULLETIN membership and distribution contact: AAH Administrator, 70 Cowcross Street, London EC1M 6EJ Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 103 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> FEB 2010 A NEW DESIGN FOR ART HISTORY ssue 1 of volume 33, scheduled for publication this THE SEARCH FOR A DESIGNER I February, will see the first comprehensive redesign of With these thoughts in mind, we were fortunate enough Art History since its launch in 1978. This radical act is not to have the immediate and enthusiastic support of both intended to signal revolution, but it is an the AAH Executive and the publishers, Wiley-Blackwell, acknowledgement that times have moved on in the in tackling the rather forbidding task of redesigning more than 30 years since the first design. Publishing such an established and successful format. Christine technology now allows a far richer range of possibilities Riding’s role as a curator at Tate has given her than was the case in the late 1970s. Colour reproduction, considerable experience in working with professional the size and detail of images, the variety of layouts, all designers and in assembling and designing exhibition are vastly greater in comparison. Looking at the catalogues. Christine led the initiative to find appearance of recent volumes we began to see that the professional designers we could work with productively distance that had opened up between this potent array and, ably assisted by Sam Bibby, she has run the of choices and the existing format of the journal, and campaign to produce the new design that is being which seemed to be widening almost by the month, was launched with issue 33.1. ► becoming just too great to set aside. New cover design. The previous design had served us well, and expressed in particular the intention of Art History under successive editors to be a serious academic journal, one that encouraged diverse subjects, methods and approaches and that placed a premium on successful innovation, experimentation and plurality. The look of the original design said these things plainly, and asserted the journal’s aspiration to deal with the materials of the discipline from a position as far as possible from the marketplace. If we were going to make any changes we knew we would want to preserve these visual messages because they continue to be the guiding principles of the current editorial team. Art History is about an intellectual continuity in interest and approach, in plurality and in innovation, and in perspective. We wanted any change, whether revision or entirely new design, to reflect this continuity and the editors’ commitment to the principles that have led the journal since its foundation. Above all, we knew that any changes to the existing design would need to serve the intellectual matter of Art History better than the first design, or they would not be worth doing. We also knew that we wanted a redesign to come from a close working relationship with professional designers, both because a journal devoted to the visual needs to take proper account of visual things, and because we wanted the benefits that professional expertise can confer. NEW-STYLE ART HISTORY The first steps, once we knew that the Executive and the GREATER FLEXIBILITY publishers were on board, was to locate two design So how, in detail, is the new design an improvement? firms, each with different tried and tested approaches to First, the new design gives us a larger page. It makes the the design of comparable projects, and invite them to space available for text and images much more tender for the job of redesigning Art History. The remit substantial and more flexible, so that images can be we gave the two firms that we eventually settled on was offered to the reader in a broader range of sizes, while clear. We wanted to maintain a strong continuity with the layout options available provide greater practicality the existing design, we wanted to express the than at present. Even tricky panoramic compositions, intellectual character and aims of the journal in a visual such as Frith’s Derby Day and the Bayeux Tapestry (to form, and we wanted to take advantage of the new cite two examples we have recently had to wrestle with possibilities for a journal concerned with the visual that in the journal), can now be better accommodated and technology had provided since the first design was made more legible. In keeping with this helpful increase launched. Supporting the intellectual integrity of the in size, all aspects of the journal’s visual presentation of essays and reviews we publish was foremost in the list content have been revisited and rationalized, with of what the redesign needed to do. We wanted the clarity, consistency, and sustainability as the leading design to enhance the authors’ arguments by providing criteria. Thus, the front cover will now always have a a stronger visual counterpart to their verbal arguments. full-bleed image with the title Art History in the same top-left position and in either black or white. Once the two original tenders were in, we selected, in consultation with the AAH, the journal’s Editorial Perhaps the most important recent design innovation in Board, and the publishers, the one which stood out for the journal was the introduction of colour illustrations us as the most effective and exciting. The design came from issue 5 of volume 31. We are now extending this to from Atelier Works – a graphic design studio that include headings and titles. One feature of the new specializes in branding – where Quentin Newark and design, in fact, revisits an earlier incarnation of Art Paola Faoro provided wonderful ideas and solutions to History by providing colour-coded spines to differentiate our brief. Atelier’s design was flexible, responsive to our the volumes. The volume colour also now appears on remit, and sensitive to the academic priority of the the contents page, masthead, and abstracts and journal’s mission. As it evolved over a number of drafts biographies pages. and discussions, the design came to seem to us With an eye to the way the journal flows, we have powerful, supple, and expressive without being at all ensured that each section of an issue now has a more intrusive. We are truly delighted with the result. sharply defined visual identity to provide a logical as well as lively visual experience for the reader. We have Contents moved abstracts and biographies, until now left to languish at the back, forward to the introductory matter Annual Reports to follow the masthead and contents pages. We have Chair 3 also introduced short biographies for reviewers and Programme Coordinator 4 Museums & Exhibitions 5 designed a more visually prominent reviews section to Independents 6 emphasize this vital part of the journal’s provision. Senior Administrator 7 The new design may take an issue or two to become Hon Secretary 8 Students 9 familiar, but what lies inside the covers remains the CIHA British National Committee 10 same. Art History is still as dedicated as it always has The Art Book 11 been to exciting and adventurous research and writing Art History 12 in the discipline, but now the visual evidence can be AGM agenda 9 communicated more effectively to enhance the arguments. We are delighted with the new design and Journal of Art Historiography 12 feel sure the journal’s readers will be too. Museums & Exhibitions Groups News 13 DAVID PETERS CORBETT Independents Group News 14 Schools Group News 16 Editor, Art History Student Summer Symposium 17 New Voices report 18 Advertising in Bulletin Careers Day 19 Opportunities 20 Contact Bulletin editor regarding advertising rates: [email protected] Annual Conference – Glasgow 2010 22 Commercial rates apply to adverts for academic Conference News 38 courses, and for any commercial venture Annual Conference – Warwick 2011 39 Exhibitions Diary 39 Adverts for jobs, fellowships, grants and conferences are included gratis, with layout at the editor’s Executive Committee contact details 40 discretion, depending on space available. 2 ANNUAL REPORTS Annual Reports – for presentation at AGM ●16 April 2010 AAH Chair’s Report his is my last report as Chair of the Association of choice for a broad range of students from different T Art Historians. It has been a turbulent three years, backgrounds. During this year, we have also had with many exciting and positive moments as well as productive conversations with the chair of CIHA to difficulties. When I took over in 2007, we undertook a ensure effective co-ordination between our two groups, survey to find out what members wanted from their and are looking to increase the international dimensions Association. The overwhelming response was that of the work we do. All these efforts are made possible by members valued the sense of belonging to a professional the hard work of the AAH members’ group chairs, who community. There was also considerable appreciation of sit on the Executive Committee, and I am very grateful the way our journals, our events for students and, above for their leadership. I would also like to thank all the all, our annual conference allowed art historians from members of the EC who have served the AAH over the across the UK and abroad to come together to discuss past three years for their dedication. the most recent innovations in our field and to discuss Many activities, reports and publishing initiatives have issues of common interest. This sense of a strong occurred during my tenure. You will be able to see the professional identity was reinforced in 2008 when the results of the Art History editorial team’s complete results of the Research Assessment Exercise (RAE) were redesign of the journal at the AAH conference.
Load more

Recommended publications
  • PROGRAM SESSIONS Madison Suite, 2Nd Floor, Hilton New York Chairs: Karen K
    Wednesday the Afterlife of Cubism PROGrAM SeSSIONS Madison Suite, 2nd Floor, Hilton New York Chairs: Karen K. Butler, Mildred Lane Kemper Art Museum, Wednesday, February 9 Washington University in St. Louis; Paul Galvez, University of Texas, Dallas 7:30–9:00 AM European Cubism and Parisian Exceptionalism: The Cubist Art Historians Interested in Pedagogy and Technology Epoch Revisited business Meeting David Cottington, Kingston University, London Gibson Room, 2nd Floor Reading Juan Gris Harry Cooper, National Gallery of Art Wednesday, February 9 At War with Abstraction: Léger’s Cubism in the 1920s Megan Heuer, Princeton University 9:30 AM–12:00 PM Sonia Delaunay-Terk and the Culture of Cubism exhibiting the renaissance, 1850–1950 Alexandra Schwartz, Montclair Art Museum Clinton Suite, 2nd Floor, Hilton New York The Beholder before the Picture: Miró after Cubism Chairs: Cristelle Baskins, Tufts University; Alan Chong, Asian Charles Palermo, College of William and Mary Civilizations Museum World’s Fairs and the Renaissance Revival in Furniture, 1851–1878 Series and Sequence: the fine Art print folio and David Raizman, Drexel University Artist’s book as Sites of inquiry Exhibiting Spain at the Chicago Columbian Exposition of 1893 Petit Trianon, 3rd Floor, Hilton New York M. Elizabeth Boone, University of Alberta Chair: Paul Coldwell, University of the Arts London The Rétrospective and the Renaissance: Changing Views of the Past Reading and Repetition in Henri Matisse’s Livres d’artiste at the Paris Expositions Universelles Kathryn Brown, Tilburg University Virginia Brilliant, John and Mable Ringling Museum of Art Hey There, Kitty-Cat: Thinking through Seriality in Warhol’s Early The Italian Exhibition at Burlington House Artist’s Books Andrée Hayum, Fordham University Emerita Lucy Mulroney, University of Rochester Falling Apart: Fred Sandback at the Kunstraum Munich Edward A.
    [Show full text]
  • Exploring Self-Based Consumer Behaviour Approaches to Understanding Demand Reduction for Rhino Horn and Ivory
    Imperial College London Imperial College Business School Exploring self-based consumer behaviour approaches to understanding demand reduction for rhino horn and ivory Vian Sharif A thesis submitted to Imperial College London for the Degree of Doctor of Philosophy 1 ABSTRACT Within our lifetimes, iconic species that walked the earth for some 50 million years - elephant and rhino, for example - could vanish. Why? In making sense of the mystery that finds buyers paying inflated prices of some $97,000 per kilo for some wildlife commodities that are without obvious utility, governments, NGOs and law enforcement agencies recognise that demand for illegal wildlife products must be better understood if the trade is to end. An influential premise cited by Belk (1988) and developed in the consumer marketing literature is that “we cannot hope to understand consumer behaviour without first gaining some understanding of the meanings that consumers attach to possessions. That we are what we have is perhaps the most basic and powerful fact of consumer behaviour.” (1988, p.139). Despite this foundational principle, research informed by this concept has not been widely applied to understanding consumer decision-making for illegal wildlife products. To address this, the present research is one of the first to test dimensions conferred upon two illegal wildlife products using theory based on this evidence with the aim of understanding the drivers behind consumers’ buying decisions. In three studies, I demonstrate that it is possible to fill a gap in the literature by applying self-based customer brand frameworks to explore consumer relationships to high profile illegal wildlife products.
    [Show full text]
  • Individual Entries on the Register Can Be Easily Accessed Using the Links to People on the Right Hand Side
    Individual entries on the register can be easily accessed using the links to people on the right hand side. Katy Ackrill Museum Assistant, Swindon Museum and Art Gallery Rhian Addison Curator, The Whitworth Art Gallery Alternatively please press ‘CTRL-F’ on a PC or ‘command-F’ on a Mac to search the register using key terms. Kate Anderson Senior Curator, National Galleries Scotland Dr Thomas Ardill Museum Of London The following lists of key terms may be of use: Rina Arya Reader in Visual Communication, University of Wolverhampton Period Medium Genre 16th and 17th century Books; Portraiture; Industrial Revolution; Dr Kate Aspinall Independent art historian/writer British art; Costume; Landscape; Modernism; Katy Barrett Curator of Art Collections, The Science Museum Documents; History painting; Neoclassicm; James Beighton Curator 18th century British art; Drawing; Still Life; Neo-Romanticism; Decorative/ applied arts; Sporting art; New English Art Club; Geoffrey Bertram The Barns-Graham Charitable Trust, (Chairman), Bertram Arts, (Owner) 19th century British art; Furniture; Genre painting; New Sculpture; Installation; Marine painting; Norwich School; Sara Bevan Curator, Imperial War Museum London 20th century 1900-1945 Miniatures; Topography & Performance art; Gemma Brace Head of Programmes and Exhibitions Curator, Royal West of England Academy British art; Painting; mapmaking; Pop Art; Dr Christina Bradstreet Director of Career Services, Sotheby's Institute of Art Pastel; Caricature & satire; Popular Art; 20th century post-1945 Performance;
    [Show full text]
  • Landscaping Change Programme
    Exploring the transformation, reconstitution and disruption of environments through the arts and humanities and social science Bath Spa University, Newton Park Campus. 29th – 31st March 2016 Welcome to Landscaping Change What happens when the places we know change? Whether changes are caused by environmental events, regeneration and conservation initiatives, or development spurred by business, alteration of the material fabric of place can subtlety alter or deeply disturb the experience of those whose sense of identity and feelings of belonging may be entangled with that place. Landscaping Change is a series of events, following by a conference, which explores the meaning of place for the diverse people who live, work, and play there. Connecting writers and artists with humanities scholars and local community groups and charities, it will explore how we value and respond to place, and how such care and concern can inform thinking on how changes to environments can be made to work for local wildlife and connected ecologies, and for local people. Landscaping Change is kindly supported by the British Academy through their Rising Star Engagement Award 2015-2016. Events are organised by Dr Samantha Walton and are affiliated with Bath Spa University’s Writing and the Environment Research Centre and the College of Liberal Arts. 1 Contents Timetable p.3 Keynotes p.6 Artwork p.7 Performance p.8 Workshop p.12 Abstracts (organised by panels) p.13 Venues p.40 Speaker Biographies p.41 2 Tuesday 29th March 9.40-10.00 Registration, 1st Floor, Commons
    [Show full text]
  • CAT 2010 Ideas Before Their
    2/21/12 Papers | CAT | 2010 | Conferences by year | Conference archive | eWiC - Electronic Works… Text size Contrast Home BCS Website About eWiC Contact eWiC Search this site Conference archive Publish your conference Email alert service Academic publications Your location: Conference archive Con2fe0r1eC0nAcTes Pbay pyeerasr About eWiC Papers Conference archive Browse the conference papers here Conferences by year Keynotes Session 1: Computer Art & Cybernetics 2011 Session 2: Computer Art & Time Session 3: Computer Art & Space 2010 Session 4: Computer Art & Output Session 5: Computer Art & Technocultures HCI Keynotes iUBICOM Post Computer Art - Ontological Undecidability and the Cat with Paint EVA on its Paws Brian Reffin-Smith VECOS Create10 Session 1: Computer Art & Cybernetics Digital Pioneers: Computer-generated Art from the V&A's Collections VoCS Douglas Dodds EASE Print copies of CAT 2010: Ideas The Interactive Art System before their time IHCI Stroud Cornock ISBN 978-1-906124-64-9 RRP £45 CAT Art of Conversation Ernest Edmonds and Francesca Franco Available from the BCS bookshop Papers The Computer-Generated Artworks of Vladimir Bonačić 2009 Darko Fritz 2008 Session 2: Computer Art & Time 2007 On the Relationship of Computing to the Arts and Culture - an Evolutionary Perspective 2006 George Mallen Conferences by subject Paragraphs on Computer Art, Past and Present Publish your conference Frieder Nake Email alert service Program, Be Programmed or Fade Away: Computers and the Death of Constructivist Art Academic publications Richard
    [Show full text]
  • Contents Career Moves Whilst Raising Her Family
    u tin 82 ill For information on advertising, membership and distribution: February Association of The Administrator, 70 Cowcross Street, London EC1M 6EJ; Art Historians Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 2003 Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF; <[email protected]> www.aah.org.uk Sue Ward - Editor Extraordinaire MET SUE in the lounge of DeVere's Grand Hotel in I Brighton - a town where skateboarders, antique dealers and tattoed, braided and pierced young women running dot-com businesses share tall, skinny lattes. The Grand Hotel was an appropriate place at which to meet her: it's sophisticated and charming, with a natural air of graciousness about it. Sadly, the devastated pier was on full view from the window, and I wondered what Sue thought of its demise, brought on by years of procrastination by the Council and the commercial sector. She regrets the architectural loss to the country, but wonders whether, in a city with the social needs of Brighton, the millions needed to rebuild it could not be better used in other ways? Sue Ward created The Art Book in 1993 and has been its Editor ever since, notwithstanding the buy-out from Blackwell Publishers and the AAH five years ago, which enabled its further growth and international expansion. This year The Art Book celebrates it 10th birthday - a tremendous moment. Among the year's celebratory festivities will be an elite gathering at the Century Club in New York. I asked Sue whether she had made a conscious decision to mix the heavy workloads of motherhood and career woman? Her immediate response was that she had always wanted both and had never imagined either life-style to be mutually exclusive.
    [Show full text]
  • Towards an Ontology of Computer-Generated Aesthetic Artefacts
    UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES AESTHETIC INFORMATIONAL SYSTEMS Towards an ontology of computer-generated aesthetic artefacts Rodrigo Hernández Ramírez Orientadores: Prof. Doutor Victor Manuel Guerra dos Reis Prof. Doutor José Miguel Santos Araújo Carvalhais Fonseca Tese especialmente elaborada para a obtenção do grau de Doutor em Belas- Artes, na especialidade de Multimédia 2018 UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES AESTHETIC INFORMATIONAL SYSTEMS Towards an ontology of computer-generated aesthetic artefacts Rodrigo Hernández Ramírez Orientadores: Prof. Doutor Victor Manuel Guerra dos Reis Prof. Doutor José Miguel Santos Araújo Carvalhais Fonseca Tese especialmente elaborada para a obtenção do grau de Doutor em Belas-Artes, na especialidade de multimédia Júri: Presidente: Doutora Susana de Sousa Dias de Macedo, Professora Auxiliar e membro do Conselho Científico da Faculdade de Belas-Artes da Universidade de Lisboa (nomeada pela Presidente do Conselho Científico, Professora Doutora Maria João Pestana Noronha Gamito, nos termos do nº 2.1 do Despacho nº 7436/2017, do Diário da República, 2ª série, nº 162, de 23 de agosto de 2017); Vogais: Doutor Fernando Jorge Penousal Martins Machado, Professor Auxiliar do - Departamento de Engenharia Informática da Faculdade de Ciências e Tecnologia da Universidade de Coimbra (1º arguente); Doutor José Manuel de Figueiredo Gomes Pinto, Professor Catedrático com - Agregação da Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação da Universidade Lusófona (2º arguente); Doutor António de Sousa Dias de Macedo, Professor Associado da Faculdade de - Belas-Artes da Universidade de Lisboa; Doutor Rogério Paulo Raposo Alves Taveira, Professor Auxiliar da Faculdade de - Belas-Artes da Universidade de Lisboa; Doutor Victor Manuel Guerra dos Reis, Professor Auxiliar da Faculdade de Belas- - Artes da Universidade de Lisboa (orientador).
    [Show full text]
  • Impact Case Study (Ref3b) Page 1 Institution
    Impact case study (REF3b) Institution: Birkbeck, University of London Unit of Assessment: 34 Art and Design: History, Practice and Theory Title of case study: Computer Arts – establishing technoculture collections 1. Summary of the impact As a result of research conducted at Birkbeck’s VASARI Centre, two significant new art collections of digital art provided the basis for establishing the first National Collection of Computer Art at the Victoria and Albert Museum launched with a major free exhibition in late 2009. The two AHRC funded research projects, ‘Computer Arts, Histories, Context etc’ (2002-5) and ‘Computer Art and Technocultures’ (2007-10) also played a significant role in highlighting the importance of computer art and computer applications in art history. A further consequence of the research was the re- establishment of Computer Arts Society, and several innovative initiatives in digital arts. 2. Underpinning research Birkbeck has a longstanding research specialism in computer art and computer applications in art history, established by Prof Will Vaughan in the 1980s, based in the Vasari Research Centre which plays an increasingly pivotal international role in integrating digital research and maintaining and digitizing important analogue material in the computer arts. In 2002, digital culture researcher Dr Charlie Gere was approached to be PI on the AHRC project ‘Computer Arts, Histories, Context etc’ (CACHe). CACHe developed out of a collection of early computer art held by the Computer Arts Society (founded 1969). The researchers (Gere: 1998-2005; Brown 2002-2005; Mason – at BBK 2002- 2006; Lambert, 2002-present) contacted the artists represented in this collection in order to recover their personal collections, interview them and establish a chronology of the era that would show how they contributed both individually and as a group to the evolution of digital art as a strand of fine art in the UK (Refs 1, 2).
    [Show full text]
  • Art and Information
    http://dx.doi.org/10.14236/ewic/EVA2018.1 States of Being: Art and identity in digital space and time Jonathan P. Bowen Tula Giannini Gareth Polmeer London South Bank University Pratt Institute Royal College of Art School of Engineering School of Information London London, UK New York, USA UK http://www.jpbowen.com http://mysite.pratt.edu/~giannini/ http://www.garethpolmeer.com [email protected] [email protected] [email protected] Carla Gannis Jeremy Gardiner Jonathan Kearney Pratt Institute Ravensbourne University of the Arts London New York London Camberwell College of Arts USA UK London, UK http://www.carlagannis.com http://www.jeremygardiner.co.uk http://www.jonathankearney.com [email protected] [email protected] [email protected] Bruce Wands Jon Weinel MFA Computer Arts Aalborg University School of Visual Arts Aalborg New York, USA Denmark http://www.brucewands.com http://www.jonweinel.com [email protected] [email protected] This one-day Symposium explored themes of personhood, modernity and digital art, bringing together speakers from a range of disciplines to consider technology, artistic practice and society. It seeks a renewed consideration of the role of art in illuminating human identity in a positive relation with technology, and its transformative effects upon space and time. The concerns for the role of art amidst the forces of a post-modern world are influenced by important legacies of the past, by which ideas about human identity and difference have been made meaningful in the relation of history and technology. In the frequently transient and conflicting forces of humanness and forces of modernity, the digital world of the arts emerges as a means by which new ideas of space and time can be considered, with new perspectives of human identity seen as states of being, towards the possibilities of experience, technology, individuality and society.
    [Show full text]
  • Richard Kenton Webb MA (RCA, Painting)
    Richard Kenton Webb MA (RCA, Painting) www.richardkentonwebb.art M: 07808 819585 |L: 01285 651790 |E: [email protected] education 1983-86: MA (Painting), Royal College of Art, London 1978-82: BA Hons (Fine Art), Slade School of Fine Art, UCL London 1977-78: Foundation, Chelsea School of Art, London teaching 2014 to date: Programme Leader, Drawing & Print BA, University of the West of England, Bristol (f/t) 2014-16: Programme Leader, Drawing & Applied Arts BA, University of the West of England, Bristol (f/t) 2005-13: Senior Lecturer, Drawing & Applied Arts BA, University of the West of England, Bristol (f/t) 2003-05: Visiting Lecturer, Drawing & Applied Arts BA and Foundation, University of the West of England 2003-05: Visiting Lecturer, the Royal Drawing School, London (postgraduate) 2000-05: Visiting Lecturer, Foundation and Postgraduate, the Leith School of Art, Edinburgh 1999: Visiting artist in residence, BA and MA Fine Art, SACI, Florence (f/t for four months) 1998-2005: Visiting Tutor, artists’ co-op, Mauritius 1995-2013: Director, owner and tutor: Colour in the Cotswolds (seven courses a year: weekend, four-day and one-week) 1993-95: Visiting Lecturer, Fine Art BA, University of the West of England 1990-2005: Visiting Tutor, Arts en Provence 1989-2005: Visiting Lecturer, BA and Summer School, Slade School of Fine Art, London 1989-2000: Visiting Tutor, West Dean College, Sussex 1 1987-95: Visiting Lecturer, Foundation, Byam Shaw School of Art, London 1986-1995: Visiting Tutor, Earnley Concourse, Sussex 1986-1989: Part time tutor, Stroud School of Art 1986-87: Fellowship, Fine Art (BA Hons), Cheltenham Art School The above teaching involved creating, writing and delivering structured workshops, lectures and one-to-one tutorials on drawing, painting, printmaking, sculpture, colour and art history.
    [Show full text]
  • Annual Review 2008/9
    AnnuAl Review 2008/9 ‘The objects of the College are to advance learning, knowledge and professional competence particularly in the field of fine arts, in the principles and practice of art and design in their relation to industrial and commercial processes and social developments and other subjects relating thereto through teaching, research and collaboration with industry and commerce.’ Charter of Incorporation of the Royal College of Art, 28 July 1967 Visitor: His Royal Highness The Prince Philip Duke of Edinburgh Provost: Sir Terence Conran Pro-Provost and Chairman of the Council: Sir Neil Cossons Rector and Vice-Provost: Dr Paul Thompson Editor: Octavia Reeve Design: Happily Ever After www.happily-ever-after.co.uk Photography: Marta Casellas, Anja Schaffner, Dominic Tschudin Printed by: Calverts Paper: Cocoon Silk 50% recycled, FSC mixed sources Website: www.rca.ac.uk Contents Rector’s Review 2 Design Interactions 32 Student Statistics 4 Design Products 33 2008/9 Features 6 Innovation Design Engineering 34 SHOW 2009 8 Vehicle Design 35 Battersea Campus 10 Animation 36 The Dyson Gift 12 Communication Art & Design 37 Funded Research Case Studies: Fashion 38 EPSRC/AHRC 13 Textiles 39 Exhibitions 14 Painting 40 Annual Fundraising 16 Photography 41 The RCA Experience 18 Printmaking 42 Research 20 Sculpture 43 Helen Hamlyn Centre 22 Drawing Studio 44 InnovationRCA 24 Conservation 45 Olympic & Paralympic Games 2012 26 Critical & Historical Studies 46 Design London 27 Curating Contemporary Art 47 ReachOutRCA 28 History of Design 48 Ceramics & Glass 29 Post Experience Programmes 49 Goldsmithing, Silversmithing, Financial Report & Summary Accounts 50 Metalwork & Jewellery 30 College Honours & Appointments 54 Architecture 31 Donors & Sponsors 55 1 ReCtoR’s Review Sculpture.
    [Show full text]