Please note that the former Arts University College at Bournemouth (AUCB) became the Arts University Bournemouth (AUB) on 13th December 2012. All references in this document to AUCB, the University College or the Arts University College should be taken to refer to AUB, the University or the Arts University. the Arts Institute at Bournemouth Research Directory 2005-2008 1 2 Welcome to the Arts Institute at Bournemouth’s first directory of staff research. Significantly, it is also the last that will be published prior to celebrating our new status of University College as confirmed by the Privy Council with the award of Taught Degree Awarding Powers conferred in 2008 and as represented by our forthcoming title, the Arts University College at Bournemouth. The formal entry of the Arts Institute into the HE sector in 2000 enabled our first submission to the RAE in 2008, in which we presented a vibrant and developing research culture. Seventy per cent of the research we submitted was ‘nationally recognised’, while a further twenty per cent was described as either ‘internationally recognised’ or ‘internationally excellent’. This Directory celebrates research undertaken by our staff in the three-year period 2005-2008 and showcases work from within the range of academic disciplines that are the raison d’être of our specialist curriculum and that fall under the broad categories of art, design, media and performance. This research encompasses the following subjects: costume and fashion studies; curation and museum studies; design (including architecture); digital and interactive media; film; fine art; graphics and illustration; pedagogy; performance; and photography. However, we have resisted the temptation to categorise researchers by virtue of any single one of these areas since their research in many cases reaches out beyond discrete subject specialisms, thus breaching the artificiality of rigid disciplinary demarcation and in a spirit of genuine collaborative endeavour. The Institute’s Research and Scholarship Policy both reflects and shapes our environment. Among notable consequences to date are: an energetic Research Forum; a Human Resources Strategy that facilitates and supports staff research; the establishment of a proactive Research Committee; a refurbished Gallery, which, since 2003, has focused on the theme of text + work, http://textandwork.org.uk, and which aims to promote dialogue between innovative contemporary art/design/media practice and its theoretical context; and the exploitation of our Museum of Design in Plastics (MoDiP, MLA registered museum) as a unique research resource. The further strengthening and enhancement of excellence in research is a key priority for our future as a university college. We recognise the important contribution that research in collaboration with our academic partners and with the creative industries makes to economic prosperity, national wellbeing and the dissemination of new knowledge and understanding. Dr. Rachel Worth Professor of Fashion History 3 4 Case Studies 10 Eric Butcher 12 Robert Cotton 14 David Evans 16 Robert Frith 18 Kirsten Hardie 20 Jim Hunter 22 Stephanie James 24 Adele Keeley 26 Susan Lambert 28 Joel Lardner 30 Aaron Schuman 32 Paul Ward 34 Rachel Worth Directory 40 Paul Allen 40 Hitesh Ambasna 41 Cesar Ballester 41 Sharon Beeden 42 Simon Beeson 42 Graham Cottenden 43 Tim Edgar 43 Christian Edwardes 44 Paul Finnegan 44 Simón Granell 45 Michael Griffiths 45 Kavita Hayton 46 David Hazel 46 Paul Hilton 47 Sally Hope 47 Phil Jones 48 Andrew King 48 Paul Lipscombe 49 Julie Marsh 49 Christian McLening 50 Anna Middleton 50 Ellie Nixon 51 Judith Noble 52 Joyce Palmer 53 Peter Parr 53 Lisa Richardson 54 David Ridout 54 Pauline Rose 55 Dominic Shepherd 55 Barbara Strange 56 Peter Symons 56 Thomas Walsh 57 Nigel West 59 Honorary Fellowships 5 6 Case Studies 7 8 Case Studies 9 Eric’s work has been exhibited nationally and internationally since 1993. He was the CAIR (Centre for Art International Research) Multiple Perspectives Fellow (2007), Liverpool School of Art/Liverpool John Moores University. He also held an Arts Institute at Bournemouth Research Fellowship (2007). His practice-led research explores the selective articulation of the surfaces of aluminium structures through the use of paint and resin. His work is made in a procedural or process-governed manner, the outcome largely determined by the physical characteristics of the metal support. Eric is also concerned with the formal relationship between surface structure and three-dimensional form or Eric Butcher ‘objectness’ and his work informs debates in contemporary painting about [email protected] the relationship between painted surface and architectural context. Recent solo exhibitions include: ‘Honey Trap’, (Toomey-Tourell Gallery, San BA (Hons) Francisco, 2007); ‘Static Interference’ (Vertigo Gallery, London, 2007); Philosophy Arte Fiera, Bologna (2005). Recent contributions to group exhibitions University of Cambridge include: ‘Ten’ (Toomey-Tourell Gallery, San Francisco 2008); ‘Meeting MA Fine Art Place: Contemporary Art and the Museum Collection’ (Russell-Cotes Wimbledon School of Art Art Gallery and Museum, Bournemouth in association with the Arts Visiting Tutor Institute at Bournemouth, 2007-8) (curated by Stephanie James and Jackie BA (Hons) Fine Art and MA Serafopoulos), and a chapter entitled ‘Discoveries’ in an accompanying publication (2007); ‘Underground’ (Shoreditch Town Hall basement, London, 2007) (with Roger Ackling and Simón Granell and supported by the Arts Institute). Eric undertook a major curatorial project in 2005-6 entitled ‘Definite Article’ (exhibited Vertigo Gallery, London, and Toomey-Tourell Gallery, San Francisco, 2005-6). This featured the work of four contemporary artists all concerned with the formal relationship between object and surface - Roger Ackling, Eric Butcher, Marc Vaux and Cathy Wade. Both ‘Underground’ and ‘Definite Article’ were supported by the Arts Institute. Eric is engaged (2008-9) in a research project in collaboration with Benson-Sedgwick Engineering, which takes the form of a residency. This research will result in a book publication (forthcoming, CAIR; distributed by Cornerhouse Publications). Recent publications include: Ackling, R., Butcher, E. and Granell, S., Underground (Liverpool: CAIR/Liverpool School of Art/Liverpool John Moores University, 2007), distributed worldwide by Cornerhouse Publications; Definite Article, (London: Vertigo Gallery, 2005), including introductory essay, ‘Objects & Surfaces’ by Eric Butcher; Barron, J. and Butcher E., Hanging Garden (text + work, The Arts Institute at Bournemouth, 2005). R.327 (Detail), 2008, by Eric Butcher. Oil and Resin on Extruded Aluminium Section. Dimensions Installation Specific/Variable. 10 11 Bob’s current research informs the creation of a history of innovation in media since 1900: an illustrated chronology or timeline of the dominant developments in media, communications and computing in the twentieth and twenty-first centuries. The history takes the form of an illustrated book, an experimental website and a graphic printed timeline for exhibition display. An early proof, The Inspiration Timeline, was shown at the Research Centre, London College of Communication (July 2006). In 2007-8, Bob worked on Futureflux, a partnership to develop and deliver events that focus on providing showcase overviews of aspects of new media and digital arts innovations. Clients include the ICA, Robert Cotton University of Westminster, University of the Arts, London (London College [email protected] of Communication and Central St Martin’s Innovation), Paddington Development Trust and CreateKX. Symposia organised by Bob in 2008 Diploma in Art and Design (Hons) include ‘Design in an Era of Continuous Innovation’ for Central St Fine Art Martin’s Innovation (June) and ‘Design and the Visual-Sonic Interface’ for Portsmouth College of Art Create KX, Birkbeck University Cinema (September). Conference papers Postgraduate internship at include ‘The New Media Opportunity-Space’ (Designs on e-Learning the Light/Sound Workshop Conference at London College of Fashion, September 2005) with work Hornsey College of Art subsequently contributed to ‘Designs on e-learning’ CDROM (University Senior Lecturer (Associate), of the Arts, London, October 2005). Bob’s work ‘A Timeline of Pop FdA Digital Media Production Festivals’ was exhibited (2006 onwards) at the Julia Margaret Cameron BA (Hons) Graphic Design Museum, Freshwater, Isle of Wight. Bob is academic supervisor appointed by London College of Communication to liaise and guide the Media Futures Associate on the Press Association / University of the Arts Knowledge Transfer Partnership, 2008 – 2011, a government-funded project to encourage KT between industry and higher education. This is one of several approaches to illustrating a ‘timeline of media convergence’ by Robert Cotton. Other products include a book format, and a merged concept-map and timeline. Bob’s aim is to illustrate the important developments along the road to the media-scape we now live and work in. These include developments in all the converging sectors of media-content design, film and video, animation, web-design, publishing, computing and telecoms. 12 13 David’s research interests concern historic avant-gardes and their legacy, appropriation, and ‘poor photography’. He has published extensively on photography and photomontage. His catalogue raisonné of the German montage artist John Heartfield was published by