DOCSLIB.ORG

RPM Renaissance Report April

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RPM Renaissance Report April Royal Pavilion & Museums Renaissance Programme 2012-15 Arts Council England Report; April - June 2014 Introduction: The following is a summary update of activity against outcomes for the Renaissance Programme for the period April - June 2014. The report is laid out as per the Arts Council England 5 goals and includes data where appropriate. Under the Leadership section, key updates have been added for the Museum Development and Preventative Conservation programmes, as a full report is available from the Museum Development Programme, which is included as part of the submitted documentation to the Arts Council for the reporting period. Please see the Museum Development website for information on the programme: http://southeastmuseums.org/ For further information please contact [email protected] Goal 1: Excellence is thriving and celebrated in museums Agreed Outcomes: RPM’s collections are relevant to contemporary audiences; Knowledge understanding and enjoyment of collections is enhanced through improved access; Creative partnerships strengthen RPM’s work • RPM Director Janita Bagshawe has taken on the role of Museums Association's (MA) representative for the South East region. This is a three year appointment. The role of the regional representative is to act as a conduit between membership and the officers at the MA and represent member’s views to the MA. • Beyond the Mantelpiece , a co-produced display with members of RPM’s Museum Mentors Group (individuals with varied critical social needs) opened at Brighton Museum & Art Gallery, supported by RPM’s Curator of Collections Projects and Community Engagement Officer and inspired by the Willett collection and the theme of Charity • RPM’s Curator of Costume & Textiles has become an Associate Member of the Centre for Fashion Curation at London College of Fashion, and has been invited to co-edit a future special issue (2018, content to be submitted in 2016) of Fashion Theory on ‘Museum Collections and Collectors of Fashion’ • RPM’s Curator of Costume & Textiles was invited to advise Petersfield Museum on the redisplay of its costume collection; the Keeper of World Art was invited to attend a session at Reading Museum on developing a community engagement strategy for its World Collection • 3 RPM curators met with colleagues at the Horniman Museum to exchange knowledge and ideas around the collecting and display of contemporary African dress • RPM’s Curator of Fine Art was on the selection board for the Brighton Festival Artists’ Open House scheme and has been invited to join the selection panel for the Hove Plinth contemporary sculpture commission • After an open and competitive process RPM’s Curator of World Art was awarded a new fully-funded Phd studentship – ‘Fashion Cities Africa’ – jointly supported by RPM and the Sussex Africa Centre, University of Sussex • RPM has submitted an application to the Heritage Lottery Fund Collecting Cultures scheme on the theme of African fashion costume, again linked to the ‘Fashion Cities Africa’ project and exhibition at Brighton Museum in 2016. • Brighton Photo Biennial collaborative project with Hove Museum & Art Gallery: Curator of Toys, Film & Media worked with artist Jan Von Holleben and a group of 6 young carers, aged 10 – 13. The young people looked at the Brighton School of Filmmakers and in detail at a collection of magic lantern and kromscop slides. They used these as inspiration for making new photographic work which will be displayed at Hove Museum in the autumn in a large exhibition as part of the Brighton Photo Biennial. • Contemporary Art Society: Twixt Two Worlds opened at the Whitechapel Gallery, London on 10 June (to 31 August 2014). The display is the result of the Whitechapel Fellowship, supported by the CAS and ACE: researcher Gaia Tedone worked with curatorial colleagues and collections at RPM. The display maps the pivotal moment in cinema history when still photography evolved into moving images. Inspired by the Barnes brothers’ collection of early projection apparatus at 1 Royal Pavilion & Museums ACE Report; April – June 2014 RPM, this shift is explored through objects, printed materials and films, many loaned from RPM’s collections. The display will be shown at the Towner, Eastbourne this autumn. See http://www.whitechapelgallery.org/exhibitions/contemporary-art-society-twixt-two-worlds . • Collaboration underway with the University of Brighton on the CT scanning of animal mummies, cave breccia and ferrous objects as an educational resource • Collaboration with British Museum and Museum Development Service for Sussex and Surrey to scope a free Numismatics training day to be held at Brighton Museum, open to anyone working in museums with an interest in the subject of numismatics. (RPM will facilitate and contribute coin hoards and bring objects from the numismatics collection to the event) • Volunteers trained and engaged in object packing for HLF-funded Whitehawk Community Archaeology project with University College, London, and local partners. • Curator of Collections Management selected for Museum Associations Transformers Programme, a new workforce initiative for people mid-career, running July 2014 to March 2015. See http://www.museumsassociation.org/professional-development/15042014-transformers-radical-change-in- museums • RPM co-hosted the BME Heritage Network showcase event which attracted more than 90 participants from across the city • 68 items loaned in for Keith Vaughan exhibition. 1 item taken in for pest freezing for local museum. 69 items in total. • 13 items acquired for the accessioned collection. 4 items acquired into unaccessioned collections for use in handling • 41 items loaned to 'Twixt two worlds' exhibition at Whitechapel gallery London; 2 items to the exhibition 'A working class legacy- east London group artists c1928-1936' at, Nunnery at Bow Arts; 1 archaeological model to Archaeology South East for use at 'The Festival of Nature' at Stanmer Park; a proportion of the High Weald Hoard to Eastbourne Museum as part of the High Weald Hoard Tour. Total = 44 items plus proportion of the hoard. Goal 2: More people experience and are inspired by museums Agreed Outcomes: Audiences are increased, more diverse and have a stronger sense of ownership; Visitors have a better quality experience; Learners have high quality engagement and skills development opportunities Digital: Develop a new, enhanced and flexible website; enhance our digital offer on and off-site in collaboration with digital partners and users in the city; • Work complete on discovery phase, reviewing existing web metrics and survey data. Audience segmentation work, using motivation based profiling, has been used to inform initial wireframing. • The Digital Developer Officer is now the RPM representative for the Brighton Digital Festival consortium, and contributing to the Digital Education work group. 3 events have been approved for the festival in September. • Strategy work; on hold, to be revisited following launch of new website in autumn. • 9% growth in Twitter followers and 11% rise in Facebook likes Q1 • In discussion with Epic Learning, Brighton based e-learning company, on developing web-based game for HLF Whitehawk Community Archaeological project. • In discussions with 2 potential commercial partners; agreed projects with animator Dave Packer and Brighton Youth Film Festival for BDF 2014; students from Hove Park School agreed to contribute to Tales of the Pavilion Hospital; agreed drop-in session with Brighton University Cultural Informatics group for BDF 2014. • New interactive content in development for next Spotlight gallery display. Programming: Programmed exhibitions and events developed in collaboration with cultural partners, artists and community groups Brighton Museum: From Downs to Sea: A Slice of Life For the first time ever, Brighton Museum & Art Gallery has worked with local residents from the Portslade and West Hove neighbourhoods to select, display and interpret works for a major exhibition. The paintings, photographs and sculptures on show are drawn from the Arts Council Collection as part of the Select Scheme. They include seascapes by L S Lowry and Jeffrey Camp, rural scenes by Peter Doig and Edward Burra, and urban images by Carel Weight and David Redfern. The residents from Portslade and West Hove were involved in all aspects of the exhibition, from choosing works that resonated with them personally, to creating labels and film to be used in the gallery. They described their experience in the following words: 2 Royal Pavilion & Museums ACE Report; April – June 2014 ‘We were given the opportunity to work with Brighton Museum to choose art work from the Arts Council Collection for an exhibition. We found many works that spoke to us about what we experience in our daily lives, living on the outskirts of a big city. This exhibition helps to tell the story of our home – between the Downs and the sea .’ The project started in April 2013 with the Trust for Developing Communities assisting the museum in assembling a group of people from Portslade and West Hove who were interested in taking part in the experience of curating an exhibition at the museum. The group numbered approximately 16 people, aged from 18 to 81, who were all actively involved in developing the project. Some participants had a previous interest in visual art, while others had no interest in art to start with, but gained a passion for it through their involvement in the project. The exhibition was open to the public from 5 April – 15 June 2014. 77% of visitors rated it as excellent or good, 33 % said the exhibition was one or the main reason they visited Brighton Museum that day, and this figure rose to 50% for visitors from Portslade and West Hove. 86% of visitors said that they thought that collaborative working between museums and community groups is a good idea. Comments included ‘Particularly inspiring to see the work of a community group’. Final project review meetings are still taking place with the community group and an evaluation report will be produced jointly by RPM and the Trust for Developing Communities to review the impact of the project on those who have participated.
Load more

Recommended publications
  • REVIEWERS BIOS As of September 6, 2019
    REVIEWERS BIOS As of September 6, 2019 Martina Bacigalupo, 6Mois, Paris, France Daniela Baumann, The Walther Collection, Neu-Ulm, Germany Alexa Becker, Kehrer Verlag, Heidelberg, Germany David Drake, Ffotogallery Wales, United Kingdom Catherine Edelman and Anette Skuggedal, CASE Art Fund, Chicago, IL, United States Thomas Elsen, Neue Galerie im Höhmannhaus and H2, Augsburg, Germany James Estrin, The New York Times, New York City, New York Steven Evans, FotoFest, Houston, Texas Charlie Fellowes, Edel Assanti, London, United Kingdom Sarah Gilbert, The Guardian, London, United Kingdom Esra Klein & Andrea Horvay, Fotografie Forum Frankfurt, Frankfurt, Germany Gwen Lee, Singapore International Photography Festival, Singapore Victor Levie, LevievanderMeer Graphic & Exhibition Design, Amsterdam, Netherlands Kara Milstein, TIME, New York City, New York Patricia Morvan & Patrick Codomier, Agence VU’, Paris, France Pascal Ordonneau, Private Collector, Paris, France Joaquim Paiva, Private Collector, Rio de Janeiro, Brazil Arianna Rinaldo, Cortona On The Move Photography Festival, Cortona, Italy Oliva María Rubio, La Fabrica, PHotoESPAÑA, Madrid, Spain Eve Schillo, Los Angeles County Museum of Art, Los Angeles, California Maarten Schilt, Schilt Publishing & Gallery, Amsterdam, Netherlands Mona Schubert, Fotomuseum Winterthur, Switzerland Jaehyun Seok, ArtSpace LUMOS, Daegu, Korea Xavier Soule, Galerie VU’, Agence VU’, Paris, France Claire Wearn, Photoworks, Brighton, United Kingdom Lisa Woodward and Mia Dalglish, Pictura Gallery, Bloomington, Indiana, USA Manfred Zollner, fotoMAGAZIN, Hamburg, Germany Page │ 1 Martina Bacigalupo Picture Editor, 6Mois Paris, France www.6mois.fr For the past decade, Martina Bacigalupo has lived and worked as a photographer in East Africa focusing on human rights issues. Working for governmental and non- governmental organizations, as well as the international press, she has consistently interrogated the visual dynamics between Africa and the West.
    [Show full text]
  • University of Brighton Guide Brighton and Sussex Medical School (BSMS) B74
    WWhenhen you have finished wwiith this prospectus please recycle it. Central contact details University of Brighton Mithras House Lewes Road Brighton BN2 4AT email [email protected] telephone (01273) 644644 fax (01273) 642607 international code (+441273) UCAS institutional codes University of Brighton (BRITN) B72 University of Brighton Hastings campus (BRITN) B72 campus code U University of Brighton Guide Brighton and Sussex Medical School (BSMS) B74 There’s more online... Please refer to the website, www.brighton.ac.uk/courses for up-to-date course information. www.brighton.ac.uk A–Z course finder 02–03 Choosing the University of Brighton 04–47 Great minds 04–05 Inspirational teaching 06–07 Career-focused 08–09 Enriching experiences 10–11 A brilliant place to live 12–13 Brighton 14–15 Falmer campus 16–17 Courses at Falmer 18–19 Grand Parade campus 20–21 Courses at Grand Parade 22–23 Moulsecoomb campus 24–25 Courses at Moulsecoomb 26–29 Eastbourne 30–31 Eastbourne campus 32–33 Courses at Eastbourne 34–35 Hastings 36–37 Hastings campus 38–39 Courses at Hastings 40–41 Support for you 42–45 Your Brighton experience 46–47 All about… 48–81 How to apply 50–51 Entry requirements 52–54 University of Brighton Compact 55 Types of course 56 International students 57–59 Money 60–68 Where to live 69–76 Open days 77 Timeline 78–79 General index 80 How to find us 81 www.brighton.ac.uk 01 A–Z COURSE FINDER Accounting and Finance BSc(Hons) M 26 Criminology and Sociology BA(Hons) F 19 Aeronautical Engineering BEng(Hons) M 28 Criminology and Substance
    [Show full text]
  • Etches Along the Coastline and Contains Almost 500,000 People
    The Ebb and Flow of Resistance: Analysis of the Squatters' Movement and Squatted Social Centres in Brighton by E.T.C. Dee University of Madrid Sociological Research Online, 19 (4), 6 <http://www.socresonline.org.uk/19/4/6.html> DOI: 10.5153/sro.3502 Received: 10 Jul 2014 | Accepted: 10 Sep 2014 | Published: 30 Nov 2014 Abstract This article analyses a database of 55 squatted social centres in Brighton. By virtue of their public nature, these projects provide a lens through which to examine the local political squatters' movement, which was often underground, private and hidden (residential squatting in contrast is not profiled). Several relevant non-squatted spaces are also included since they were used as organisational hubs by squatters. The data was gathered from a mixture of participant observation, reference to archive materials, conversations with squatters past and present, academic sources and activist websites. The projects are assessed in turn by time period, duration, type of building occupied and location (by ward). Significant individual projects are described and two boom periods identified, namely the late 1990s and recent years. Reasons for the two peaks in activity are suggested and criticised. It is argued that social centres bloomed in the 1990s as part of the larger anti-globalisation movement and more recently as a tool of resistance against the criminalisation of squatting. Tentative conclusions are reached concerning the cycles, contexts and institutionalisation of the squatters' movement. It is suggested that the movement exists in ebbs and flows, influenced by factors both internal (such as the small, transitory nature of the milieu) and external (such as frequent evictions).
    [Show full text]
  • Developing Principles for Working with Young People in Libraries
    Developing Principles for Working with Young People in Libraries Marianne Bamkin, Birmingham City University Sarah McNicol, Manchester Metropolitan University 2019 Developing Principles for Working with Young People in Libraries Acknowledgements Thanks to all survey respondents and interviewees. Particular thanks to the young people from Oldham Youth Council who participated in the focus group, and to Oldham Libraries for making arrangements with the group. Thanks also to Oldham Libraries, Harris Westminster Sixth Form and the BRIT School for contributing examples of ways to implement the principles in school and public libraries. 2 Developing Principles for Working with Young People in Libraries Contents Acknowledgements ................................................................................................................................. 2 Executive Summary ................................................................................................................................. 5 Introduction ............................................................................................................................................ 8 Reading Hack ....................................................................................................................................... 8 ACE Quality Principles (QPs) ............................................................................................................... 9 Methodology ....................................................................................................................................
    [Show full text]
  • A-N Magazine | Editorial & Letters
    magazine london art fairs professional development schemes for artists psychogames subscriber prize research and development lauren healey talks to gallery glue collaborative relationships kevin carter, OCT 08 civic architects and louise kirkup rural initiatives focus £5.95/ 8.55 SPECIAL ‘A-N’ OFFER 10% ONLINE DISCOUNT BOOK A COURSE BY NOVEMBER 30TH 2008 QUOTE DISCOUNT CODE ‘AN0809’ TERMS AND CONDITIONS APPLY ArtSway Associates Programme ArtSway is pleased to announce the launch of the ArtSway Associates programme offering selected artists training, support and advice over the next three years. Complementing ArtSway’s exhibition residency and commissioning programme, ArtSway Associates aims to provide legacy support for a selection of artists who have previously undertaken residencies at ArtSway. Artists selected for the programme currently include: Anna Best, Boredomresearch, Elpida Hadzi-Vasileva, Anne Hardy, Simon Faithfull, Dinu Li, Hannah Maybank, Charlie Murphy and Emilia Telese. ArtSway Associates is financially supported by the Leverhulme Trust. IS FOR SATISFACTION Audiences and arts professionals can access information about the ArtSway Associates through ArtSway Xtra, S ArtSway’s regular email newsletter (send an email to [email protected]). SHORT COURSES AT CHELSEA COLLEGE OF ART AND DESIGN Please visit www.artsway.org.uk for more information. INCLUDING INTERIOR DESIGN, CURATING & ART HISTORY, TEXTILES, 3D FOR FULL LISTINGS REQUEST A BROCHURE AT WWW.CHELSEA.ARTS.AC.UK/SHORTCOURSES / PHONE 0207 514 6311 OCTOBER 2008
    [Show full text]
  • Trevor Paglen
    TREVOR PAGLEN Born 1974 in Camp Springs, Maryland Lives and works in Berlin, Germany Attended University of California at Berkeley, 1996, (B.A.) and 2008, (Ph.D.); School of the Art Institute of Chicago, Chicago, IL, 2002, (M.F.A.) SELECTED ONE-PERSON EXHIBITIONS 2017 Autonomy Cube, Tensta Konsthall, Spånga, Sweden 2016 Orbital Reflector, Nevada Museum of Art, Reno 2015 Autonomy Cube (two-person exhibition with Jacob Appelbaum), Edith-Russ-Haus for Media Art, Oldenberg, Germany Metro Pictures, New York The Octopus, Frankfurter Kunstverein, Germany Altman Siegel, San Francisco The Genres, Eli and Edythe Broad Art Museum at Michigan State University, East Lansing 2014 Code Names of the Surveillance State, Metro Pictures, New York 2013 Visibility Machines (two-person show with Harun Farocki), Center for Art Design & Visual Culture, Baltimore; Akademie der kunste, Berlin (2014), Gallery 400, University of Illinois, Chicago (2015); Gund Gallery, Kenyon College, Ohio (2016) (cat.) Code Names, Van Abbemuseum, Eindhoven (2013-2014) Protocinema, Istanbul Galerie Thomas Zander, Cologne Metro Pictures, New York 2012 Geographies of Seeing, Brighton Photo Biennial, Lighthouse, Brighton, England 2011 American University Museum at the Katzen Arts Center, Washington DC Unhuman, Altman Siegel, San Francisco Hidden Landscape, Aksioma, Ljubljana, Slovenia 2010 Secession, Vienna (cat.) The Other Night Sky, Kunsthall Oslo, Norway A Compendium of Secrets, Kunsthalle Giessen, Germany 2009 Altman Siegel, San Francisco Bellwether Gallery, New York Galerie Thomas
    [Show full text]
  • Sustainability Action Plan
    Brighton & Hove’s Sustainability Action Plan Forewords If everyone on the planet used the same amount of resources as we do in Brighton & Hove, we’d need three and a half Earths to keep going. It’s just not sustainable for us or anyone else on the planet to go on at this rate. One Planet Living is a clear set of ten sustainability principles put together by the organisations BioRegional and the Worldwide Fund for Nature, which set out how we can live and work within a fair share of our planet’s resources. Many of the environmental principles are familiar - such as reducing waste, energy efficiency, supporting wildlife and creating more a sustainable transport system. Much progress has been made in these areas over the last few years, and they’re widely recognised as goals we want to achieve for everyone’s benefit. However One Planet Living also incorporates social and economic sustainability - such as sustainable materials, local food, water use, culture and community, equity and the local economy, and health and happiness. It’s a clear framework that we can use to build on the progress that’s already been made towards sustainability - and use to set out ambitious goals to go even further. This sustainability action plan outlines how we will use One Planet Living to meet two of the council’s key priorities - creating a more sustainable city and modernising the council. It’s a challenging time for the public sector, but we’re not going it alone. Our partners in the city are working with us to shape a ‘One Planet City’.
    [Show full text]
  • PRESS RELEASE HOUSE Biennial: Brighton & Hove's New
    PRESS RELEASE HOUSE Biennial: Brighton & Hove’s new contemporary visual arts festival announces Laura Ford as lead artist. The first edition of HOUSE Biennial will take place from 30 September – 5 November 2017. The In- vited Artist will be Laura Ford, who will present new work at Brighton Museum & Art Gallery around the Biennial’s theme of Excess. ©Laura Ford, Days of Judgement, 2012-2015, Bronze, photo courtesy Gautier Deblonde Laura Ford is an established British artist who works across a range of media, from bronze sculp- ture through painting, drawing, ceramics, sewing and modelling in wax and clay. Her work is in- tensely crafted and is consistently curious about the human condition and wider social and political issues. She often mixes the bitter sweet with wit, and is inspired by imagery generated from writ- ing, film and objects. For HOUSE Biennial, Ford is producing a new commission in the form of a series of new works for presentation at Brighton Museum & Art Gallery. Large-scale sculptural works will be made for one of the main exhibition spaces, while smaller works will be placed amongst the Museum’s col- lection and at associated HOUSE Biennial 2017 venues across the city. For this, Ford has chosen to take her inspiration from the Royal Pavilion & Museums satirical cartoons from the Regency period, as well as imagery and figures found in the Willett’s ceramic Collection of Popular Pottery at Brighton Museum & Art Gallery. **** HOUSE, Brighton & Hove’s contemporary visual arts festival, is delighted to also announce major Arts Council England support for its new festival, extending its programme and moving to October, where it becomes a biennial.
    [Show full text]
  • Communities Collectives & Collaboration
    Communities ColleCtives & Collaboration brighton Photo biennial 2014 exhibitions P3-39 Digital Programmes P40-41 EVENTS oPENING WeeKenD P42-43 talKs, Screenings & tours P44-50 bPb14 big WeeKenDs P48-50 WORKSHOPs Young PeoPle & Adults P51 Creative Professional DeveloPment P51-52 teaChers & Schools P53 FAMILIES P54 -55 bPb14 HUB AND INFO P56 - 63 2 #BPB14 bPb14 COMMUNITIES COLLECTIVES & COLLABORATION 4 October – 2 november 2014 Welcome to brighton Photo biennial, the uK’s largest photography festival, returning this year for its sixth edition, taking place in venues and public spaces in brighton & hove and beyond Introducing the theme of Communities, explores photography’s role in relation Collectives & Collaboration, BPB14 to these larger ideas. presents a series of remarkable exhibitions The core programme runs throughout and more than 50 events. All are bound October with exhibitions throughout the together by a common approach; city of Brighton & Hove and across the region. photography based projects produced The events programme is geared towards through innovative, new and unexpected different interests, experience and ages, partnerships. This includes photographers offers many opportunities to get involved and artists collaborating with and participate in BPB14, including environmentalists, scientists, young and older workshops, talks, tours, screenings people, photo and film archives, local and and online digital projects. international communities and digital networks. BPB14’s programme is outlined here. From collusion and intrusion in paparazzi To find out more, the BPB14 team are on photography, to live underwater cameras hand throughout October at our pop-up recording the creation of an artificial reef; shop and information hubs at Jubilee Library to connect and disconnect in communities; and Circus Street Market in central Brighton, to explorations of national and international or connect with us online for updates and photography collectives, to ambitious ways to take part.
    [Show full text]
  • Appendices to Support the Report: an Evaluation of the MLA Their Past Your Future 2 Programme, 2008-2010
    Appendices To support the report: An evaluation of the MLA Their Past Your Future 2 programme, 2008-2010 May 2011 An evaluation of the MLA: Their Past Your Future 2 Programme, 2008-2010 - Appendices Contents Appendix 1: References 03 Appendix 2: Project Brief 06 Appendix 3: Research Methods 07 Appendix 4: Overview of MLA data from TPYF2 and Project descriptions 31 Appendix 5: Case Studies 54 An evaluation of the MLA: Their Past Your Future 2 Programme, 2008-2010 - Appendices Appendix 1: References BBC (2005) ‘Make history compulsory – Tories’ http://news.bbc.co.uk/1/hi/education/4209075.stm [accessed 14 05 2010] CCE (Creativity, Culture and Education) (2010) ‘About Find Your Talent’ http://www.findyourtalent.org/about [accessed 29 04 2010] Centre for Intergenerational Practice (undated) http://www.centreforip.org.uk/default.aspx?page=23455 [accessed 26 05 2010] Collections Trust (2009) Revisiting Museum Collections: A Toolkit for capturing and sharing multiple perspectives on museum and gallery collections, Cambridge, Collections Trust / MLA Communities and Local Government (2006) Strong and Prosperous Communities, London, Communities and Local Government DCSF (2007) Aiming High for young people: A ten year strategy for positive activities, London, DCSF DCSF (2007) The Children’s Plan: Building Brighter Futures, London, DCSF DCSF (2006) Learning Outside the Classroom manifesto, London, DCSF, http://www.lotc.org.uk/getmedia/fe5e8f73-a53c-4310-84af-c5e8c3b32435/Manifesto.aspx [accessed 29 04 2010] DIUS (2009) The Learning Revolution, London, DIUS, http://www.dius.gov.uk/assets/biscore/corporate/migratedd/publications/l/learning_revoluti on.pdf [accessed 30 04 2010] Denham, J. (2001) 'Foreword', in Community cohesion: a report of the Independent Review Team chaired by Ted Cantle, London, Home Office:1 http://image.guardian.co.uk/sys- files/Guardian/documents/2001/12/11/communitycohesionreport.pdf [accessed 29 04 2010] DfES (2004) Every Child Matters: Change for Children, London, DfES Dubin, S.
    [Show full text]
  • Trevor Paglen: Born 1974, Lives and Works in New York, NY and San Francisco, CA
    Trevor Paglen: Born 1974, Lives and works in New York, NY and San Francisco, CA Solo Exhibitions 2015 Altman Siegel, San Francisco, CA (forthcoming) 2013 “Code Names,” Van Abbemuseum, Eindhoven, Netherlands Galerie Thomas Zander, Koln, Germany Protocinema, Istanbul, Turkey “The Last Pictures,” Metro Pictures, New York, NY 2012 “The Last Pictures” Creative Time, New York, NY “Geographies of Seeing,” Brighton Photo Biennial, Lighthouse, Brighton, England 2011 American University Museum at the Katen Arts Center, Washington DC “Unhuman,” Altman Siegel, San Francisco, CA “Hidden Landscape,” Aksioma, Ljubljana, Slovenia 2010 Secession, Vienna, Austria “The Other Night Sky,” Kunsthall Oslo, Norway “A Compendium of Secrets,” Kunsthalle Giessen, Germany 2009 San Francisco Museum of Modern Art (SECA Award exhibition) Altman Siegel, San Francisco, CA Bellwether Gallery, New York, NY Galerie Thomas Zander, Koln, Germany 2008 “The Other Night Sky: Matrix 225,” Berkeley Art Museum, Berkeley, CA 2006 “Black World,” Bellwether, New York, NY 2005 The LAB, San Francisco, CA 2002 California College of Arts and Crafts, San Francisco, CA 2001 Deadtech, Chicago, IL Salina Art Center, Salina, KS Selected Group Exhibitions 2014 “Covert Operations: Investigating the Known Unknowns,” SMoCA Scottsdale Museum of Contemporary Art, Arizona “Really Useful Knowledge, “Museo Reina Sofia, Madrid, Spain “Fractured Narratives: A Strategy to Engage,” Cornell Fine Arts Museum, Rollins College, Winter Park, FL “The Last Pictures,” Photomonth Festival, Krakow, Poland “Gorgeous,”
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Art as ‘Artificial Stupidity’ Micheál O'Connell Thesis submitted for the Degree of Doctor of Philosophy University of Sussex June 2016 3 Acknowledgements Sally-Jane Norman, Blay Whitby Betty O’Connell-Rogers, Ruby O’Connell-Rogers UNIVERSITY OF SUSSEX MICHEÁL O’CONNELL, DEGREE OF DOCTOR OF PHILOSOPHY ART AS ‘ARTIFICIAL STUPIDITY’ SUMMARY PAGE Through treatment of selected interventions and artworks, the thesis investigates relationships between cybernetics, conceptions of intelligence and artistic practice. The works in question are primarily the artist’s own, documented in the thesis and a separate portfolio. Specifically, Intelligence’s downside, the controversial notion of stupidity, has been reappropriated as a means of considering the way artists intervene and how art, as a system, functions. The term ‘artificial stupidity’ was invented in reaction to a particular construal of what Artificial Intelligence (AI) meant. The notion has been employed since, and the thesis discusses interpretations and uses of it. One meaning relates to an ability to become, or make oneself, ‘stupid’ in order to facilitate discovery.
    [Show full text]