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University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-04 Ewva European Women's Video Art in The 70sand 80s http://hdl.handle.net/10026.1/16391 JOHN LIBBEY PUBLISHING All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. EWVA EuropeanPROOF Women’s Video Art in the 70s and 80s do not distribute PROOF do not distribute Cover image: Lydia Schouten, The lone ranger, lost in the jungle of erotic desire, 1981, still from video. Courtesy of the artist. EWVA European Women’s PROOF Video Art in the 70s and 80s Edited by do Laura Leuzzi, Elaine Shemiltnot and Stephen Partridge Proofreading and copyediting by Laura Leuzzi and Alexandra Ross Photo editing by Laura Leuzzi anddistribute Adam Lockhart EWVA | European Women's Video Art in the 70s and 80s iv British Library Cataloguing in Publication Data EWVA European Women’s Video Art in the 70s and 80s A catalogue entry for this book is available from the British Library ISBN: 9780 86196 734 6 (Hardback) PROOF do not distribute Published by John Libbey Publishing Ltd, 205 Crescent Road, East Barnet, Herts EN4 8SB, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Distributed worldwide by Indiana University Press, Herman B Wells Library – 350, 1320 E. -
A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice. -
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CONTENTS Chairman's Introduction ;,ia :.i . :,•ccountable Secretary-General's Preface 3 t o 6 provide ParhoinL•nl anc public Departmental Report s 15 with an overvie x of t he % .3 }rh and to Scotland record all grants andsfWAr<anLLu offered i n Wales 16 support of the arts. Counci l 17 Membership of Council and Staff 18 A description of the highlights of th e Advisory Panels and Committees 19 Council's work and discussion of its policies Staff 24 appear in the newspaper Arts in 21 r6an Annual Account s 25 which is published in conjunction with this Funds, Exhibitimis, &-he»us and Awards Report and can be obtained, free of charge , from the Arts Council Shop . 8 Long Acre , London WC2 and arts outlets throughou t the country. The objects for which the Arts Council i s established are : 1 To develop and improve the knowledge , understanding and practice of the arts : 2 To'uncrease the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with government departments, local authorities and other bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and Libraries provided an extra £1 million . Opera generally problems which the A r CI ,_,n, i , .1, The development of business sponsorship only partly meet, but the quahrY +-~t th(- has also been very encouraging . Ten years major opera companies' work outsicil u ago, business support for the arts wa s London was still outstanding . running at only £600,006 a year . The figure now stands at £17 million and a furthe r Although we have to make judgements increase is expected in 1985/86, Obviously , between companies, the Arts Council is some of our clients are better able to secur e very conscious that it exists as a servant of local authority or business support than the arts - a difficult role in a period o f others. -
Interview with Elaine Shemilt
REWIND | Artists’ Video in the 70s & 80s Interview with Elaine Shemilt Interview by Deirdre Mackenna, 1st May 2012 DM: The projects are grouped into community and context process, context and exhibition and critical feedback, which is helpful, but I suspect we will be leaning back and forward. First of all I can start by asking which of the works that you have produced do you consider to be the most important and why? ES: It’s a really difficult question, because I could say that the early work really informs everything that I do now, in a sort of way, but I mean the work weaves in and out, I have this feeling that artists quite often have only one really good idea. You keep rehashing it in any shape or form for the whole of your career, so I don’t really know how to answer. I think its more the mode of working, that semi-performance and the use of the space. I think it’s down to things like using proximities. By that I mean that something to do with the space between the viewer and what they are viewing - that was always very important to me, which is why I went into working with installation, and video was a perfect media for recording events. I didn’t really want performance as such, I wanted somehow to incorporate movement. So your question ‘which was the most important piece of work?’ - I suppose those early videos have informed everything that I do now, in some shape or form. -
Neon-Re@Ct-Social-Change-Art-Technology-Abstracts-FINAL-1
NEoN Re@ct Symposium SPEAKERS Bios and Abstracts NAME BIO ABSTRACT Janna Ahrndt Janna Ahrndt received her MFA in ‘P@tching In: Stitching Together Electronic and Time-Based Art from Tactical Media and Social Aesthetics Purdue University. She is part of a wave as a Political Art Practice’ of new media artists rejecting the notion that craft and technology are In the early 2000’s, the Maker directly opposed. Her work explores movement hoped to open up how deconstructing everyday technology to everyone in true DIY technologies, or even making them for fashion However, makerspaces yourself can be used to question larger continue to have a gender gap and oppressive systems and create a race issues that relate directly to the space for participatory political action. privilege of making and having the Her activist and social art practice blur resources - time – money - energy etc. the lines between the materiality of to experiment with new technologies. craft and the digital realm of new This leaves many women and media technologies to create socio- marginalised groups feeling that the political interventions. Janna has power structure in these supposedly presented her research on the use of structureless spaces is just a DIY electronics as a medium for continuation of the power structures participatory political art at ISEA 2019 of the tech industry. In this short paper in Gwangju South Korea and will be my focus is on finding ways to engage facilitating workshops for her P@tch communities in civic action while project in collaboration with the honouring the integrity at the heart of Science Gallery in Melbourne Australia DIY. -
Vrc Mach Catalogue.Indd
Lorraine Anderson Paul Andrews Paul Harrison David Mach John McGhee Elaine Shemilt When artists and scientists collaborate ideas explode, predictions implode and unexpected synergies emerge. The Inspiration and Discovery 2006 exhibition unveils to the public, for the fi rst time, international artist and sculptor David Mach’s exuberant embodiment of 21st century monumental art and life sciences – a nine foot model of an envisaged “bioColossus” nonchalantly straddling the area between the arts and sciences on the University of Dundee campus. The work, and associated collages, is Mach’s response to a period as Visiting Professor of Inspiration and Discovery at the University, mixing with scientists and artists, students and staff, at a time when the University has also been evolving its campus redevelopment plan. Concept plans for a purpose-built Inspiration Studio, to be constructed by the University’s architecture students, and to house future art /science initiatives will also be revealed. Unexpected synergies are well demonstrated in this exhibition – where potato pathogens Bio Colossus • David Mach yield the pattern of their secrets, computer games technology brings physiological processes to life for patients, designs inspired by pollen structures unexpectedly soothe asthmatics and the exquisite relationship between form and function is explored. The Inspiration and Discovery Exhibition 2006 marks the conclusion of the Inspiration and Discovery programme, funded by the Wellcome Trust, to catalyse collaborations between artists and scientists in the wider communication of science.The University of Dundee is uniquely well placed to lead art-meets-science activity, with its combination Cell Division • Paul Andrews of world class life sciences and one of the UK’s leading art schools. -
Full Meeting Papers
Notice of meeting and agenda Committee on the Jean F Watson Bequest 10.00am Friday 15 December 2017 Fergusson Room, 5th Floor, City Art Centre, 2 Market Street, Edinburgh This is a public meeting and members of the public are welcome to attend Contacts Email: [email protected] Tel: 0131 529 4283 1. Order of business 1.1 Including any notices of motion and any other items of business submitted as urgent for consideration at the meeting. 2. Declaration of interests 2.1 Members should declare any financial and non-financial interests they have in the items of business for consideration, identifying the relevant agenda item and the nature of their interest. 3. Deputations 3.1 If any 4. Minutes 4.1 Committee on the Jean F Watson Bequest 29 April 2016 – submitted for approval as a correct record (circulated) 5. Committee on the Jean F Watson Bequest Business 5.1 Jean F Watson Financial Statement 2017/18 – joint report by the Executive Director of Resources and the Executive Director of Place (circulated) 5.2 Purchase of D’Arcy Thompson Print Portfolio – report by the Executive Director of Place (circulated) 5.3 Purchase of a drawing by William Wilson – report by the Executive Director of Place (circulated) 5.4 Purchase of a drawing by Charles Poulsen – report by the Executive Director of Place (circulated) 5.5 Purchase of a print by Bronwen Sleigh – report by the Executive Director of Place (circulated) 5.6 Purchase of a video work by Roderick Buchanan – report by the Executive Director of Place (circulated) 5.7 Purchase of a silver articulated griffin sculpture/ornament by Bryony Knox – report by the Executive Director of Place (circulated) 5.8 Acquisition of contemporary ceramics, glass and silver – report by the Executive Director of Place (circulated) 5.9 The City’s Art Collection – The Future – verbal overview Committee on the Jean F Watson Bequest – 15 December 2017 Page 2 of 4 6. -
Lost and Recovered Video Artworks by Elaine Shemilt from the 70S and 80S
LEUZZI, L. 2016. Embracing the ephemeral: lost and recovered video artworks by Elaine Shemilt from the 70s and 80s. Arabeschi: rivista internazionale di studi su letteratura e visualità [online], 7, pages 86-98. Available from: http://www.arabeschi.it/embracing-the-ephemeral-lost-and-recovered-video-artworks-by-elaine-shemilt-from-70s- 80s/ Embracing the ephemeral: lost and recovered video artworks by Elaine Shemilt from the 70s and 80s. LEUZZI, L. 2016 This document was downloaded from https://openair.rgu.ac.uk n. 7, gennaio-giugno 2016 Embracing the ephemeral: lost andLaura recovered Leuzzi video artworks by Elaine Shemilt from the 70s and 80s This article explores Elaine Shemilt’s video artworks from the Seventies and early Eighties. Generally- known as a printmaker, Shemilt started to use video in 1974 as part of her installation and performance work. Shemilt aimed to use video – a relatively new medium at the time – as a performative element wi thin her installations. Since that time, her artistic practice has conveyed feminist themes as well as the- re-elaboration of intimate and personal experiences. She destroyed her Seventies videotapes in 1984, considering those tapes as part of ephemeral instal lations. Photographs taken during the shootings and seriesDoppelgänger of prints are and the Women final artwork Soldiers from those projects and act today as the remaining existing documentation of those videos. Only two of Shemilt’s videotapes from the early Eighties, , are today available. They were both remastered during the Arts and Humanities Research Council funded project- Rewind in 2011. - This article, based on documents, existing videos and interviews collected during the Arts and Humani ties Research Council funded project EWVA ‘European Women’s Video Art from the 70s and 80s’, discus ses and retraces Shemilt’s early video artworks. -
Topography and Flight: the Creative Application of Aerial Photography and Digital Visualisation for Landscape Heritage
Topography and flight: The creative application of aerial photography and digital visualisation for landscape heritage Kieran Andrew Baxter, BA (Hons), MSc Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy DUNCAN OF JORDANSTONE COLLEGE OF ART AND DESIGN UNIVERSITY OF DUNDEE With thanks to October 2017 [Open access version] Contents Contents 1 List of Figures 5 Abstract 8 Research activities 9 Conference papers 9 Relevant publications 9 Acknowledgements 10 Declaration 11 Introduction 12 Chapter 1 - Aerial photography: The cultural resistance of the technological image 17 1.1 Introduction 17 1.2 Wartime reconnaissance 19 1.2.1 Optical warfare 19 1.2.2 The heroic aviator 20 1.3 The modernising aerial view 21 1.3.1 Rural planning 22 1.3.2 Urban planning 23 1.4 Global ecology and local environment 24 1.4.1 Patrick Geddes and the Outlook Tower 25 1.4.2 Globalisation and postcolonial imperialism 27 1.4.3 Environmentalism 29 1.5 Aerial archaeology 31 1.5.1 The typography of aerial observation 31 1.5.2 Visualisation beyond vision 32 1.6 Drones and remote sensing 34 1.6.1 Narrativisation of surveillance warfare 34 1.6.2 Civil applications of drones and remote sensing 36 1.7 Summary 37 Chapter 2 - Aerial artworks: Creative responses to the experience of flight 40 2.1 Introduction 40 2.2 Modern painting and the aerial view 41 1 2.2.1 Tullio Crali 42 2.2.2 Paul Nash 43 2.2.3 Peter Lanyon 43 2.2.4 Yvonne Jacquette 44 2.3 Aerial art-photography 45 2.3.1 Margaret Bourke-White 46 2.3.2 Emmet Gowin 47 2.3.3 Marilyn Bridges