GRADUATE SCHOOL LAUNCH DIRECTORY 2009 - Chelsea ...

BRIGHT 1 

GRADUATE 

SCHOOL 

LAUNCH 

DIRECTORY 

2009 

C-C-W 

CAMBERWELL 

CHELSEA 

WIMBLEDON

Bright 1 

Graduate 

School 

launch 

directory 

2009

Bright 1 

Graduate 

School 

launch 

directory 

2009 

C-C-W 

camberwell 

chelSea 

wimbledon

7 welcome 

9 introduction 

12 student opportu nities 

14 reSearch deGreeS 

14 mPhil / Phd 

contentS 

15 a collaborative endeavour 

18 tauGht PoStGraduate courSeS 

camberwell 

19 PoStGraduate diPloma 

conServation 

20 ma conServation 

21 ma viSual artS (book artS) 

22 ma viSual artS (deSiGner-maker) 

23 ma viSual artS (diGital artS) 

24 ma viSual artS 

(diGital artS online) 

25 ma viSual artS (Fine art) 

26 ma viSual artS (GraPhic deSiGn) 

27 ma viSual artS (illuStration) 

28 ma viSual artS (Print makinG) 

29 ma viSual artS 

(tranSnational artS) 

chelSea 

30 PoStGraduate diPloma Fine art 

31 ma critical writinG and 

curatorial Practice 

32 ma Fine art 

33 ma GraPhic deSiGn communication 

34 ma interior and SPatial deSiGn 

35 ma textile deSiGn 

wimbledon 


37 ma viSual lanGuaGe 

oF PerFormance 

38 people 

40 PeoPle 

ProFeSSorS 

41 baddeley oriana 

44 bamFord anne 

46 coldwell Paul 

50 cumminGS neil 

53 drew linda 

56 elweS catherine 

59 FarthinG Stephen 

62 Garcia david 

64 newman avis 

67 Pickwoad nicholas 

69 Politowicz kay 

72 Scrivener Stephen 

75 Slee richard 

78 wainwriGht chris 

82 watanabe toshio 

84 woolley Janet 

readerS 

88 aSbury michael 

92 baSeman Jordan 

96 biSwaS Sutapa 

100 collinS Jane 

102 croSS david 

110 earley rebecca 

114 FairninGton mark 

116 Faure walker James 

119 Fortnum rebecca 

123 kikuchi yuko 

125 newman hayley 

128 Pavelka michael 

131 Quinn malcolm 

134 tulloch carol 

FellowS 

142 FranciS mary anne 

145 o’riley timothy 

147 Salter rebecca 

150 Sandino linda

152 Stair Julian 

154 velioS athanasios 

156 walSh maria 

158 whiteleGG isobel 

161 wilder kenneth 

courSe directorS and 

Pathway leaderS 

164 beech amanda 

167 bircham lorna 

169 chalkley brian 

171 FitzPatrick edwina 

174 Ghazi babak 

176 Johanknecht Susan 

179 o’connell douglas 

182 Sandy mark 

184 StiFF andrew 

186 taylor Finlay 

188 waller tracey 

190 current reSearch deGree 

SuPerviSorS 

192 Selected PaPerS and interviewS 

193 who? me?: conFeSSionS oF a caSual 

tranSnationaliSt, by michael asbury 

200 in converSation, Jordan baseman and 

roger wilson 

205 PerForminG identity on the 

international StaGe, Jane collins and 

roger wilson 

212 muSeum FutureS: live, recorded, 

diStributed, by neil cummings 

223 drawn identitieS: PePSi, ShakerS 

and tattooS, by Stephen Farthing 

228 art and knowledGe workShoPS 

in the aGe oF networkS, by david Garcia 

234 lineS oF enQuiry, by chris wainwright 

246 researCh environment 

248 reSearch at camberwell, chelSea 

and wimbledon 

256 reSearch centreS 

257 centre For drawinG 

258 liGatuS 

260 Sciria 

262 train 

264 Graduate School PartnerShiPS 

266 appendix 

269 how to aPPly and entry 

reQuirementS 

270 contact detailS

welcome 

ProFeSSor chriS wainwriGht, head oF colleGeS camberwell, 

chelSea, wimbledon 

I would like to take this opportunity to welcome and introduce you to this 

launch publication marking the creation of the Graduate School here at 

Camberwell, Chelsea and Wimbledon colleges. It is the first in our series of 

Bright publications that will appear in various formats over time as a 

dissemination mechanism that captures key debates and the diverse range 

of work taking place in the Graduate School. 

The effective academic and structural alliance between Camberwell, 

Chelsea and Wimbledon colleges (C-C-W), has created an opportunity for 

a number of new and innovative developments in The University of 

the Arts London and more broadly within the sphere of arts education. 

The creation of the C-C-W Graduate School is our first major initiative and 

reflects an academic vision that is predicated on profiling and celebrating 

the conditions and ethos that characterise these three specialist art colleges. 

The rationale of the Graduate School is founded upon the reputations 

and strong traditions in all three colleges for a well established, high quality, 

postgraduate provision and mature research cultures that are equally 

comfortable and experienced in supporting practice led and theoretical 

based research in art and design areas. 

What the Graduate School brings to the current postgraduate and research 

provision is a set of challenges and questions that address the relationship 

of research to the broader academic and cultural communities and 

an assertion that consideration is given to a broader thematic context that 

reflects issues of our time that in turn influences our practices. 

There are two key aspects of the Graduate School that define its 

distinctiveness: the first is a commitment to create and maintain a direct 

relation ship between research focused activity and teaching and a 

requirement that all research staff, our professors, readers and fellows in 

particular, play an active role in teaching and supervision and that 

their research forms a crucial aspect of our student learning experience. 

The second is the commitment to providing a series of overarching 

thematic reference points that form a catalyst for cross disciplinary 

exchange and collaboration and as a means of responding to broader social 

and cultural agendas that transcend subject specific concerns. In this 

respect for the coming year we have identified the three areas of Climate 

Change, Identities and Technologies as themes that will be explored in 

our Graduate School Festival and at other points during the year when we 

7

8 welcome 

will be bringing together our research communities and external partners 

in focused projects and events. 

There has been considerable thought and effort put into the creation 

of the Graduate School by an experienced and committed group of staff and 

students with much encouragement from the cultural and academic 

sectors. I am grateful to everybody who has supported and contributed to 

what I am confident will be a new, hopefully provocative and highly 

attractive research and postgraduate experience at C-C-W. I also believe that 

we have created a tangible and innovative example of what is possible 

when we combine the experience, distinctiveness and ambitions of the three 

colleges that results in more than just the sum of their parts. We have 

created the conditions for a challenging, critical but bright future, so now, 

please enjoy Bright 1.

introduction 

ProFeSSor linda drew, dean oF Graduate School 

The Graduate School at C-C-W is the culmination of an innovative process 

of collaborative thinking and co-creation that has involved students, 

staff groups and opinion formers in the design and planning process. We 

have created a structure that dissolves the divide between our taught 

postgraduate courses and research degrees. What this means in effect is the 

Graduate School will bring together the taught postgraduate, research 

postgraduate and research cultures from each of the three art and design 

colleges. We feel we are embarking on something of a milestone in 

postgraduate education in art and design in the UK with this model and 

creating a new paradigm for the relationship between teaching, subject 

development and research. 

The Graduate School currently consists of over 80 research degree students, 

over 450 taught postgraduate students, 39 professors, readers and fellows 

and an equally impressive group of full time, part time and visiting tutors 

and other research supervisors as well as established research centres, units 

and research networks. Central to the success of the Graduate School is the 

quality of its research provision, the calibre of staff and students and 

the existence of real and sustainable partnerships and collaborative arrangements 

with external institutions, organisations and key individuals in 

the cultural sector and beyond. Our London location provide students with 

a fantastic range of resources, libraries, museums and collections, while 

the extraordinary range of exhibitions and events provides a rich context for 

the study of contemporary art and design. Beyond the UK the three 

colleges of C-C-W have built up many influential international partnerships 

that the Graduate School will benefit from in the form collaborations, 

internships, exchanges and joint projects. 

At the start of each academic year the Graduate School will host a three-day 

Festival. This will be no ordinary event; there will be film screenings, music, 

performances and will be open to all members of the Graduate School 

community. The aim is to discover and share information and in an atmosphere 

of creativity, festivity and celebration. It will be an opportunity to 

find out about current projects and research being undertaken and to profile 

the work of the specialist, research centres, units and networks within the 

three colleges. 

The Festival will also play an important role in introducing our integrated 

thematic approach that aims to create a cross disciplinary platform of 

9

10 

introduction 

context and debate. These will form the basis for a series of talks and events 

in conjunction with our partners and are intended to enhance, provoke and 

inform the core areas of individual and subject based study. 

The Graduate School will play an important role in creating and informing 

a future generation of artists, designers, opinion formers and leaders by 

providing the creative and intellectual freedom underpinned by a critical 

rigor needed to think, respond, and act creatively. It will equip its members 

with the confidence and potential to comment on, influence and change 

our world.

Student 

oPPortu nitieS

14 reSearch deGreeS 

14 mPhil / Phd 


18 tauGht PoStGraduate courSeS 

camberwell 

19 PoStGraduate diPloma conServation 





24 ma viSual artS (diGital artS online) 




28 ma viSual artS (PrintmakinG) 

29 ma viSual artS (tranSnational artS) 

chelSea 


31 ma critical writinG and curatorial Practice 





wimbledon 


37 ma viSual lanGuaGe oF PerFormance 

13

14 

reSearch deGreeS 

The University of the Arts London offers the following research 

degrees in full and part time modes: 

> Master of Philosphy (MPhil) 

full time: 1 year 3 months – 3 years 

part time: 2 years – 6 years 

> Doctor of Philosophy (PhD) 

full time: 2 years – 4 years 

part time: 3 years – 8 years

a collaborative endeavour 

ProFeSSor StePhen Scrivener, director oF doctoral ProGrammeS 

Education can often seem like a one-way street along which knowledge is 

transferred from teacher to student. Of course, this is not really the case and 

at its best education is learning in both directions. This reciprocity tends 

to increase with educational level, reaching its pinnacle with the doctoral 

studies. Indeed, the culmination of doctoral study, the PhD, amounts to 

a reversal of transfer. The supervisor must learn from the student: if the 

supervisor learns nothing new, then the student has found nothing new to 

learn. Hence, undertaking a doctoral programme of study is more than 

the acquisition of knowledge and competencies: it is a process in which new 

knowledge is made. It is also a process in which the student enters a 

community of researchers whose members are committed to learning from 

each other. So our task is clear to see: our task is not simply to tell you how 

to be a researcher and how to do research, it is also to empower you as an 

active member of the research community. 

We will prepare you to be a researcher by deepening your understanding 

of your field and your powers of critical evaluation and synthesis. We will 

introduce you to ways of understanding research, research methodologies 

and modes of research communication. We will do this at a number of 

levels: generic, subject specific and as an active participant in a research 

culture. We will do this in a number of ways: through one-to-one 

supervision; through the university wide Research Network University 

of the Arts London (RNUAL) programme; through C-C-W training 

workshops and seminars; and through active participation in the Graduate 

School research student and staff community and the external research 

communities. 

We will empower you as an active member of a research community. First, 

you will be accepted as a voice in the Graduate School research community. 

This means that you will be given the opportunity to participate in the 

shaping of this community and, in particular, the shaping of your own 

experience as a doctoral student within it. Indeed, this is not simply an offer, 

it is an expectation: if your only interest is your interests then the C-C-W 

Graduate School is probably not for you and you are probably not for it. 

Second, we invite you to help us to make the C-C-W Graduate School 

doctoral programme a field of excellence in art and design research. Third, 

we will support your participation in and influencing of the wider research 

communities in which your research interests are located. 

15


And, finally, you will be aware the art and design research is a developing 

field. From my own experience, the position is not unlike the field of 

computer science research, which in the late 1960s and early 1970s was also 

shaping its own identity. To be part of this moment as a doctoral student 

was incredibly exciting, but also daunting as the rules of engagement were 

not clearly defined in relation older fields of research. Being a computer 

science doctoral student was not simply about learning how to do computer 

science research, it was also about defining what it meant to do it. Hence, 

computer science doctoral students did not simply apply the practices of 

their field; they were instrumental in shaping them. We, the Graduate 

School staff and student researchers and the art and design research community 

as a whole, find ourselves in a similar position. We believe that 

the Graduate School is making, and will continue to make, a significant 

contribution to the shaping of a pluralistic and emancipating understanding 

of art and design research. And when I say we, I include you.

18 

tauGht PoStGraduate courSeS 

C-C-W offers the following taught postgraduate courses: 

camberwell 

19 PoStGraduate diPloma conServation 





24 ma viSual artS (diGital artS online) 




28 ma viSual artS (PrintmakinG) 

29 ma viSual artS (tranSnational artS) 

chelSea 


31 ma critical writinG and curatorial Practice 





wimbledon 


37 ma viSual lanGuaGe oF PerFormance

The Postgraduate Diploma in Conservation is 

designed for students who wish to study 

Conservation at postgraduate level, but who do 

not have the specialist degree qualification 

needed for an MA. The course is open to 

applicants who have no previous experience of 

paper conservation. It will enable students 

from diverse academic or professional backgrounds 

to develop specialist skills, knowledge 

and focus in preparation for practice in the 

field or further study at MA level. 

The Postgraduate Diploma is an intensive 

introduction to the theory and practice of paper 

conservation, and relevant areas of conservation 

science and museology. Teaching consists of 

practical classes, lectures and seminars in paper 

conservation techniques, conservation of 

parchment, basic bookbinding, conservation 

science and museology. A programme of visits to 

curatorial and conservation departments in 

London is also part of the course. 

PoStGraduate diPloma 

conServation 

camberwell colleGe oF artS 

Many graduates from the Postgraduate Diploma 

in Conservation have gone on to study on the 

MA in Conservation at Camberwell or at the 

Royal College of Art, the Courtauld Institute of 

Art, the Textile Conservation Centre and the 

University of Northumbria. Other graduates have 

attended conservation internships or employment 

as conservators with various institutions 

including the London Metropolitan Archive and 

Hampton Court Palace. 

How to apply see p. 269. 

19

20 

ma conServation 


Conservators help to preserve the world’s 

memory by caring for a wide range of works of 

art, artefacts and structures which have 

significance for the local, national and global 

community. Conservators are skilled 

professionals who undertake a wide range of 

activities including developing preservation 

strategies, undertaking interventive conservation 

(such as repair or chemical treatments), 

liaising with other museum professionals and 

being advocates for conservation to the 

wider community. 

This course has a successful track record of 

producing award winning students, such as Erica 

Kotze who recently won the prestigious Pilgrim 

Trust Student Conservator of the Year Award for 

her MA Conservation project completed at 

Camberwell – The Conservation of a Thai Samut 

Khao Buddhist Medical Manuscript. 

Students from this course are widely recognised 

as being well trained and prepared for 

employment. Recent graduates are now working 

at the British Library, the Wellcome Trust, The 

National Maritime Museum and Benaki Museum 

in Athens. Other graduates have attended 

internships with the Joint Archive Service in 

London, the Library of Congress in Washington 

and the New York Botanic Gardens and some 

are pursuing doctoral research with University 

of the Arts London. 

How to apply see p. 269.

ma viSual artS 

(book artS) 


Camberwell was the first college in the UK to 

provide specialist postgraduate study in the 

emerging field of Book Arts. Fuelled by advances 

in electronic information media and online 

publishing, the book has been freed from the 

traditional role as a container of information. 

On this course you will be asked to research the 

content, materials and technical skills, then 

produce written and practical work exploring 

your subject in relationship to contemporary 

practice. You should be well grounded in relevant 

aspects of Book Arts and be able to define and 

debate your study proposal. 

MA Visual Arts (Book Arts) is part of the postgraduate 

community at Camberwell and benefits 

from the interaction with the pathways of other 

21 

subjects. This helps the development of research 

skills and offers enhanced opportunities for career 

development. There is also a shared lecture 

programme, which draws upon the richness of 

research within the College and across the 

Graduate School. 

We are able to offer our students many 

outstanding opportunities outside of the College, 

such as participation on course stands at the 

London Artists’ Book Fair held at the Institute of 

Contemporary Arts, and Leeds International 

Book Fair. Students also visit special collections 

such as those at the Tate and the National Art 

Library at the Victoria & Albert Museum. 

A public exhibition at the end of the final unit 

gives students the possibility to explore the 

expanded book in a display or installation. 

The skills and knowledge developed on this 

course have led graduates to careers as book 

artists, curators, freelance designers, workshop 

leaders and teachers. Our graduates have won 

many prizes including; Sovereign Asian Art Prize, 

Craft Council Development Awards, the Seoul 

Book Fair Prize and the London Book Fair Prize. 


22 


(deSiGner-maker) 


This pathway engages with the renewed interest 

and status of the craft object and small batch 

production and its role in design. The role 

of designer-maker is undergoing an evaluation, 

away from a marginal activity to one which 

engages with other disciplines, Fine Art and 

Design. The value of the one off or short 

run production product has been brought to the 

attention of a broad audience of makers, 

collectors and industry. 

The course welcomes applicants from both Fine 

Art and Design backgrounds, including architecture, 

craft production, makers involved with 

one-off or small batch production, ceramicists, 

prototype designers, jewelry designers and metal 

workers. 

MA Visual Arts (Designer-Maker) is part of the 

postgraduate community at Camberwell and 

there are a number of ways in which the 

pathways interact, most notably through research 

skills and career development. There is also 

a shared lecture programme, which draws upon 

the richness of research within the College and 

across the Graduate School. 

We offer our students many opportunities to 

attend industry events, visit special collections 

and network with the creative industry. A public 

exhibition at the end of the second unit gives 

students the possibility to explore the location of 

their work in a professional context. 


course lead to careers as practitioners, creative 

industry professionals, curators, freelance 

designers, workshop leaders and teachers with 

a potential to progress to PhD study. 



(diGital artS) 


The 21st century has seen digital technology 

rapidly expand into mainstream culture, with the 

internet offering a truly global audience. Art now 

exists outside the gallery and the accompanying 

critical debate has made the same transition. 

Our environment has changed beyond 

recognition, as public, private, commercial and 

artistic data floats around us in a digital state. 

It is this challenge of understanding and 

interpreting ‘the digital’ in our contemporary 

environment that is the focus of the course. 

The pathway does not focus on technology, but 

presents it as a tool to facilitate ideas, placing 

emphasis upon its creative use. 

MA Visual Arts (Digital Arts) is part of the postgraduate 

community at Camberwell and there 

are a number of ways in which the pathways 

interact, most notably through research skills 

and career development. There is also a shared 

lecture programme, which draws upon the 

richness of research within the College and 

throughout the Graduate School. 

This course attracts students from diverse 

backgrounds, which reflects the role of Digital 

Arts in the 21st century. Students on the 

course are encouraged to engage at all levels of 

professional development, from showcasing 

work in venues around the College, as well 

as participating in themed gallery events within 

the College. 

23 

Students actively work with the Research 

Department of the College so they get to develop 

an understanding of research in an academic 

context, and also develop an understanding of the 

role of research in industry. 

Our students are employed in the design, graphic 

and moving image industries. There are a number 

who are self employed, running their own 

creative businesses, and also arts based practitioners, 

who are regularly exhibiting in galleries 

and moving image festivals. 


24 


(diGital artS online) 


This popular course offers students the chance to 

study for the MA Visual Arts course online. For 

many students this offers the advantage that they 

can develop their careers whilst remaining 

employed. 

Digital technology has embedded itself so deeply 

in creative practice, that it is no longer questioned 

as a tool or medium. In response, our students are 

encouraged to challenge, question and explore 

the theoretical implications of this technology. 

They examine the digital production of, and 

digital interaction with, artworks. A project 

proposal allows students to embark on detailed 

research into their chosen area. 

The use of blogs and wikis by all students and 

staff is vital to encouraging collaboration and 

building a dynamic cohort, based across the UK, 

Europe and the globe. Themed exhibitions and 

events are aimed at developing communication 

and encouraging students to explore the 

possibilities of communication in the digital era. 

Weekly chat sessions form the basis of 

engagement between students and the College. 

These real time chat sessions will also become 

the centre of collaborative presentations between 

the face-to-face and the online pathway. Blogs 

will be used to supply weekly updates on project 

progress, and also form the basis for chat, tutorials 

and assessment. Students have become very 

inventive in the tools they are using to communicate, 

ranging from blogs and wikis to podcasting. 

Students join this course from all creative 

backgrounds: Graphics, Fine Art, Illustration and 

Architecture. The projects they develop range 

from motion graphics, moving image and 

animation, to sensor based interaction and web 

based interaction. 

Our students are employed in the design, graphic 

and moving image industries. There are a number 

who are self employed, running their own creative 

businesses, and also arts based practitioners, 

who are regularly exhibiting in galleries and 

moving image festivals. 



(Fine art) 


This pathway takes an interdisciplinary approach 

to Fine Art practice. Drawing upon local, 

national and international contexts, it focuses on 

Fine Art practice and how it can address 

social agendas such as regeneration and environmental 

sustainability. The pathway also 

considers the role of Fine Art practice in the 

public domain, especially work that is innovative 

in terms of how the work is produced via 

collaborative partnerships. 

Studies are complemented by lectures, seminars 

and workshops designed to help you develop 

wider contextual understanding, research skills 

and awareness of professional issues. 

MA Visual Arts (Fine Art) is part of the postgraduate 

community at Camberwell and there 

are a number of ways in which the pathways 

interact, most notably through research skills 

and career development. There is also a shared 

lecture programme, which draws upon the 

richness of research within the College and 


We give our students many opportunities to 

engage with the local creative partnerships, visit 

special archives and collections such as John 

Latham’s flat-time house nearby and network 

within the creative industry. 

A public exhibition at the end of the second unit 

gives students the opportunity to explore the 

location of their work in a professional context. 

25 


course can lead to careers as practitioners, creative 

industry professionals, curators, freelance 

designers, workshop leaders and teachers with a 

potential to progress to PhD study. 


26 


(GraPhic deSiGn) 


At Camberwell we challenge the idea that visual 

communication is a neutral activity. By studying 

at Camberwell, you will take issue with the 

content and the context of your design work. 

Our aim is to help you develop research skills 

and generate concepts to support visual 

communication. 

Information, skills and ideas at the beginning 

of the course, gradually allow you to develop 

your project independently. Our staff team 

includes practicing profes sionals who exhibit 

work in moving image, typography and contemporary 

art; comple mented by guest lectures 

from contempo rary practitioners. Workshops 

are available in design for print, photography, 

video, and letterpress typography. We also use 

London as an expanded learning environment for 

creative and critical interaction, with study visits 

to exhibitions, production facilities and creative 

environments. You define and develop your own 

project, to combine your ideas, experience and 

interests and connect with a particular audience 

or group of people. 

The pathway in Graphic Design at Camberwell 

helps you prepare for high-level professional 

practice. With a research oriented and socially 

engaged ethos, the focus is on delivering 

outcomes in the public domain. We encourage 

you to collaborate with external organisations 

and we help you realise your potential to get the 

best results. 

By exhibiting your work in the end of year show 

you complete your postgraduate study 

and prepare for professional practice. Successful 

graduates from this course have won awards 

including a silver, gold and Grand Prix at the 

Communication Exhibition in Brazil, exhibited 

work at the Barbican, been awarded scholarships 

and won places on the Student Associates 

Scheme of the Institute of Education in London. 



(illuStration) 


Illustration in the 21st century demands strong 

voices: entrepreneurial image-makers who can 

tell their own stories. Camberwell College of Arts 

has a long tradition of imaginative illustrative art, 

and this pathway builds on this strength. 

A series of seminars, workshop inductions, 

research time and field trips, will familiarise you 

with the College environment, the city of London, 

and the work of fellow students and staff. You 

will begin to develop your proposal: an ambitious 

and engaging project to sustain you throughout 

the pathway. We offer you time to implement 

both critical and practical skills. The development 

of your personal project is also a time in which 

to consider how your practice continues and the 

directions you may choose to take. 

Many students choose to participate in external 

ventures, competitions or exhibitions and form 

their own discussion groups. 

MA Visual Arts (Illustration) is part of the 

postgraduate community at Camberwell and 

there are a number of ways in which the 

27 

pathways interact, most notably through research 

skills and career development. There is also a 

shared lecture programme, which draws upon the 

richness of research within the College and across 

the Graduate School. 

Trips to museums and galleries around London 

are a vital part of the pathway. There are visits 

to the Association of Illustrators, and in the spring 

students visit Italy for the Bologna Book Fair. 

Students also exhibit throughout the year 

at Waterloo Gallery, XHIBIT and the Designers 

Block. A number of students have worked on 

commissions for web sites, corporate identities 

and book commissions. 

The range of creative destinations is wide and 

former students have had a number of successes 

including book contracts, comic strip work for 

Flicking Publishing and work with the Thames 

Festival. Recent graduates have gone on to work 

for Rave Magazine in Bombay and Samsung 

Advertising in Europe. 


28 


(PrintmakinG) 


Camberwell is widely regarded as the place to 

study printmaking, boasting an international 

reputation for the quality of work and teaching. 

The artist Mike Marshall known for his photography 

and film works made his first etching 

at Camberwell. This was created under guidance 

from Brian Hodgson, the master printer (for 

artists including the Chapman Brothers) and 

editioned with a Camberwell printmaking 

student in the College printmaking workshops. 

The success of the pathway is due to its exploration 

of printmaking as a medium in its own right 

and its relationship to wider contemporary 

practices. It responds to current debates about the 

role of skill and authorship in the creation of 

artworks, and about the notion of the unique 

work of art. Printmaking technologies are being 

utilised by artists in more varied and experimental 

approaches than ever before which is 

why Camberwell is investing in both traditional 

and digital methods to enable development of 

ideas through print media. 

You will be encouraged to develop technical 

skills, sharpen your critical and contextual 

thinking and widen your professional knowledge. 

The course promotes an innovative approach to 

traditional and digital media, and introduces all 

forms of autographic printmaking including 

intaglio, lithographic (plate and stone), relief, 

screen-printing and computer-generated 

processes. 

Students are encouraged to exhibit work both 

across the Graduate School and externally in 

London. In 2006 students took part in the Victoria 

& Albert Museum’s Prints on the Run symposium 

and this was followed by visits to the museum’s 

print collection and talks with the curator Gill 

Saunders. 

Printmaking students will have a wide range of 

creative career destinations open to them, from 

practicing artist or freelance designer, to working 

in education or research. Graduates go on to teach 

in higher education at graduate and postgraduate 

level, establish successful print workshops such 

as Artichoke Print Workshop and East London 

Printmakers, work in editioning prints and exhibit 

both in the UK and abroad. 



(tranSnational artS) 


The movement of peoples and artefacts is breaking 

down borders and producing new identities 

outside and beyond those of the nation state. 

It is no longer easy to define the nature of the 

local and the international, and many cultural 

interactions now operate on the level of the 

transnational. This pathway benefits from its 

Graduate School links with the dedicated University 

research centre based at Chelsea College 

of Art and Design. It explores a range of issues 

relating to the theme of practice in relation 

to dissemination of visual languages and cultural 

identity. 

29 

Central to the pathway is the impact of identity 

on the production and consumption of artworks 

and artefacts. Students develop an understanding 

of the impact of artefacts on the practice, history 

and pedagogy of Art and Design. Individual 

study is complemented by lectures, seminars, 

workshops and tutorials delivered by scholars, 

artists and curators. These are designed to help 

you develop wider contextual understanding, 

research skills and awareness of professional 

issues. Lectures and seminars will be organised 

under general themes including: Exhibiting the 

Nation; Identity, Authenticity, Material, Migration 

and the Context of the Transnational. A final 

series on Methodologies of the Transnational 

provides the necessary tools for the production of 

your final submission. 

A series of museum and gallery visits will be an 

integral part of the course with related 

assignments focusing on reviews and critiques of 

curatorial practices. 

The MA is a qualification in itself, but also prepares 

you for further research at MPhil and PhD 

level and future academic careers. The historical / 

theoretical path will prepare you for careers 

within museums, galleries or other related institutions. 

The practice path will provide a solid 

contextual and conceptual understanding of the 

production of art that, beyond informing one’s 

own practice, will benefit those inclined towards 

pedagogy. 


30 

PoStGraduate diPloma 

Fine art 

chelSea colleGe oF art and deSiGn 

This course encourages a challenge to, and 

expansion of fine art practice. It explores a range 

of approaches and procedures within a context of 

group initiated shows and independent learning. 

By developing a range of learning skills the course 

encourages a re-thinking of practice and development 

of theoretical understanding. A lively and 

ongoing group dynamic is central to the teaching 

methods and philosophy of this course. Students 

work intensely, and as part of a culturally 

diverse group with potentially radical outcomes 

for practice. 

Taught by staff from across the world, all of whom 

are current practitioners, the course covers a 

range of disciplines and methods. Students attend 

special seminar sessions with contemporary 

professional practitioners and there is a close peer 

relationship to the MA Fine Art course and its 

students. 

The course consists of a programme of individual 

and group tutorials, seminars and workshops. 

Emphasis is placed on development, experimentation 

and the critical discussion of your ideas 

with tutors and peers, and the introduction of 

aspects of professional practice and further study. 

Many of our graduates go on to study at MA level, 

particularly in progressing to the MA Fine Art 

course at Chelsea. Alternatively, previous 

graduates work with galleries, set up studio 

spaces or have undertaken art-related careers. 

Former graduates consistently take part in 

group exhibitions and solo exhibitions. Recent 

exhibitions include Carl Freedman Gallery, 

London and Neue Alte Brucke, Frankfurt. 


ma critical writinG and 

curatorial Practice 


Taking an open approach to curation and its 

forms, this research-led course offers a 

challenging theoretical curriculum. It focuses on 

current cultural debates, sustained through an 

emphasis on bringing practice-based critique 

together with reading, writing and discussion. 

A diverse and creative staff team and visiting 

lecturers reflect this approach. Staff work unites 

and crosses the fields of writing, arts publishing, 

curation and art production. A visiting lecturer 

programme, a series of contemporary aesthetics 

seminars, writing workshops, professional 

practice lectures and seminars, visits to galleries 

and overseas projects, and collaborative events 

all support the course. 

Over the duration of the course, students are 

encouraged to curate exhibitions in project spaces 

and produce work collaboratively and 

independently in galleries or other spaces outside 

the College. Final assessment comprises of a 

Research Journal and a Project Portfolio that 

includes a Project Proposal for future curatorial 

activity arising from study and enquiry. 

The course benefits greatly from the College’s 

close relation to Tate Britain, providing students 

with an additional educational and archival 

resource. There is the opportunity for curation 

of Late at Tate events and public presentations 

in the galleries. 

The course also organises visits to significant 

international events and exhibitions, including 

most recently the Venice Biennale, Italy, 2009; 

and the Whitney Biennial, New York, 2008. 

The course develops independent research 

projects and prepares you with knowledge, 

understanding and confidence in entering the 

professional sphere. The programme also 

equips you for progression to PhD research and 

other forms of research inquiry. 

Graduates of the course have established employment 

in international museums, and developed 

their independent work in organising and working 

with curatorial collectives. They have also 

represented artists through curation, as well as 

worked in writing and publishing and the arts. 

How to apply see p. 269. 

31

32 

ma Fine art 


The MA Fine Art at Chelsea is one of the longest 

established postgraduate fine art courses in 

the UK. Our staff are current practitioners with 

international reputations. Graduates from 

MA Fine Art at Chelsea include internationally 

reputable artists and Turner Prize winners 

and nominees such as: Anish Kapoor, Mike 

Nelson, Peter Doig, Stephen Pippin, Rebecca 

Warren, Kimio Tsuchiya, Mariella Neudecker 

and Andreas Oelhert. 

This is an intensive taught course providing 

a valuable bridge between studentship and 

professional practice. The course is distinctive 

thanks to its commitment to developing the 

dialogue across the whole spectrum of fine art 

practice. We aim to provide a stimulating and 

challenging learning environment for ambitious 

students drawn from a wide inter national 

application. One of the central aims is to promote 

and generate discourse between students, 

encouraging re-evaluation of practice. 

Underpinned by a challenging theoretical 

curriculum and instruction in approaches to 

research methodology, the course demands 

a high level of commitment to independent 

productive activity. Students are supported by 

a strong postgraduate community. The course, 

tutors and peers encourage students to intensify, 

challenge and contextualise their work. This 

enables them to locate their work in relation to 

contemporary fine art practice and develop 

potential to operate as professional artists and 

conduct further research. 

The course is primarily aimed at graduates of 

fine art, who wish to develop their practice to 

a professional level within a research context. 

We welcome applications from those who 

see the practice of fine art as central to their 

professional aspirations and individual development 

and who wish to challenge, intensify and 

contextualise their practice. 

The course develops your potential to operate 

as a professional artist within an international 

art community, or to progress to further academic 

research at PhD level. Many students go on to 

establishing their own studio practice, developing 

strong professional links with galleries and 

curators at a national and international level. 


ma GraPhic deSiGn 

communication 


This course is aimed at applicants looking to be 

authors of their own practice. The course 

recog nises the need for different voices and 

approaches. We are open to individual definitions 

of authorship, encouraging exploration and 

realisation of a singular perspective by providing 

a supportive and flexible approach to new modes 

of generating, presenting and disseminating 

work. This could encompass innovative uses of 

process or technology, the development 

of a signature style or an investigation into new 

models of working. 

At the same time students are expected to examine 

their practice within a broader cultural context, 

considering the roles and responsibilities of a 

designer in relation to societal, environmental, 

and ethical issues. Whilst this may challenge and 

redefine existing boundaries, the primary concern 

of the course is to develop work that has integrity 

and autonomy. 

The course is studio based, practice led, and 

underpinned by a theoretical framework that 

aims to promote lively, autonomous and 

reflective learners who have their own creative 

position on contemporary debates and society. 

33 

Throughout the course students participate in 

individual and group tutorials, attend workshops 

with outside writers, designers, and artists. 

They develop skills through Personal Professional 

Development and on-line resources. Postgraduate 

talks introduce students to a range of visiting 

artists and practitioners. 

Collaborative projects and workshops have been 

practiced with the Design Museum, E4 and 

Jonathan Barnbook. Workshops have been held 

with Dylan Kendal of Tomato, Billy Bragg of 

Le Gun magazine, the artist Chad McCail, Nick 

Roberts of Wordsalad and writer Anna Gerber. 

Recent graduates have exhibited work at 

The Courtauld Institute of Art, and been awarded 

a fellowship by the Royal Society of the Arts, 

London. 

The course’s focus is on practice, supporting 

students to be forward thinking about their 

application either on to professional practice 

or in pursuing research to the level of PhD. 


34 

ma interior and 

SPatial deSiGn 


This course investigates the design of interior/ 

architectural spaces and architectural furniture. 

We encourage students to intensify, challenge and 

contextualise work in relation to contemporary 

interior and spatial design practice. We facilitate 

a critical awareness of current problems 

and new insights within the interior and spatial 

design practice. The course is underpinned 

by a challenging theoretical curriculum. It offers 

the possibility to pursue two areas of concern: 

Research orientated 

Here you will develop your own research 

proposal, developing projects that question the 

boundaries between architecture, design and 

fine art. You are encouraged to establish a 

connection between your theoretical concerns 

and your studio practice. This mode is particularly 

appropriate for students coming from 

a fine art or architectural background wishing 

to explore more conceptual spatial or furniture 

concerns within an architectural remit. 

Professional practice orientated 

This area of study emphasises site investigation 

and spatial resolution, where you bring your 

research concerns to a site context set by staff. 

Here the outcomes are focused on the detail 

design resolution of interventions into existing 

architectural or built conditions, and on the 

developing of challenging social programmes that 

engage with a wide cultural environment. 

The course encourages applications from 

graduates of interior design, interior architecture 

or architecture, and also from fine art graduates 

who want to pursue a more spatial aspect of their 

practice. We are interested in candidates who are 

keen to push the boundaries between disciplines 

and are looking to develop a deeper theoretical 

understanding of their practice. 

The course has direct links with a College 

research unit, the Spaces and Narrations research 

group. They organise a series of talks with 

architectural themes, and students are encouraged 

to participate in the group. Last year 

speakers included Shin Egashira and Peter Salter. 

This course provides graduates with a valuable 

bridge between studentship and professional 

practice. You will engage with leading practitioners 

enabling you to redefine your current and 

future practice. Graduates have gone on to have 

architectural books published and films made, 

and have exhibited internationally. 


ma textile deSiGn 


This is a studio-based, practice led course that 

demands a high level of commitment and 

motivation. Underpinned by a supportive 

theoretical framework and instruction in 

professional contemporary practice, it allows for 

collaborative opportunities for developing 

pioneering work within the textile industry. 

Concern and debate regarding the roles and 

responsibilities of the designer towards environmental 

issues is key to the course. It actively 

responds to the growing awareness of selecting 

raw materials, the impact of production and 

the ultimate life cycle of the product, especially 

concerning its disposal or re-use. Through 

investigation and innovation you are encouraged 

to develop solutions which challenge convention 

and merge design with function. 

The course encourages applications from students 

with a high level of practical textile skills, design 

development methodologies and encourages an 

ambition directed towards different aspects of the 

textile industry. To succeed on the course you will 

need a high level of commitment and confidence 

in your abilities. 

35 

Throughout the course you participate in individual 

and group tutorials, develop skills through 

workshops, on-line resources and postgraduate 

talks designed to introduce you to a range of 

visiting artists/designers and practitioners. 

The Textile Environment Design (TED) project 

at Chelsea is a unique research unit investigating 

the role designer’s play in the field of eco 

design. It is a resource that students, researchers 

and designers all benefit from and contribute 

to. A recent student used TED’s extensive library 

of contacts to establish a unique sustainable craft 

design project based in Thailand. The unit also 

encourages MA students to attend conferences in 

this growing area and report their findings back 

to the College. 

Graduates have gone on to careers as textiles 

practitioners and designer-makers either working 

with, or establishing their own, major and 

independent fashion labels. Recent employment 

has included working as print designer for 

Ralph Lauren in New York, working on sustainable 

craft design projects in India and as an 

in-house designer for Heritage Cashmere. Other 

opportunities include freelance design work, 

interior product design or other industry related 

careers. Graduates are also well placed to go 

on to undertake further research. 


36 

ma Fine art 

wimbledon colleGe oF art 

This course asks you to rigorously re-examine 

your Studio, Critical and Professional Practices. 

These areas of research will cross reference to 

create a new level of understanding in terms of 

both your current practice, and its future 

possibilities. We call this practice-led research, 

and it underpins all aspects of your study. 

Practice-led research is used as a form of investigation 

in terms of media, processes, meanings and 

context. As Studio and Critical Practice are viewed 

holistically, you are encouraged to conceptualise 

your art practice as a project of research. 

This course places great emphasis on professionalism 

and developing your career aspirations. 

The professional practice lectures and seminars 

run alongside practical events, which involve 

exhibiting and promoting your work both within 

and outside College. These help you to define 

a clearer sense of your authorship, and an 

understanding of how you can effectively and 

confidently contribute to today’s fine art debates 

and activities. 

Finally, the course creates a network of critical 

debates, peer learning, interaction and 

collaboration. The programme of research led 

presentations involving PhD students and 

supervisors, generate a range of debates within 

the Wimbledon graduate community (which 

includes the Centre for Drawing) and throughout 

the Graduate School. The course is also outward 

looking and engages with a range of cultural, 

educational and social communities- including 

events or projects organised between the Colleges. 


ma viSual lanGuaGe 

oF PerFormance 

wimbledon colleGe oF art 

This course provides an innovative environment 

and a unique opportunity to define contemporary 

performance practice through the investigation, 

incorporation, and fusion of a range of art 

practices. 

You will learn to work across conventional 

boundaries to gain a broader vision and experience 

of contemporary artistic practices. You 

will develop a critical awareness of the creative 

processes that are vital to world cultures and 

traditions. 

On this course you will examine the role of 

spectator, space and action. You will aim to 

unravel innovative ways of realising ideas using a 

variety of performance models, materials and 

influences with which to express a unique point 

of view. Most importantly, you will acquire the 

tools you need to create your own work. By 

identifying, developing and strengthening your 

unique area of specialism you will be prepared to 

work not only independently, but also provide a 

confident, informed and inventive perspective to 

any creative team. 

37 

The course is project led and the curriculum is 

largely developed to support your individual 

practice and research through a series of selfinitiated 

projects. A substantial amount of the 

course is dedicated to your participation in 

debates surrounding a wide range of artistic 

media including video art, film, digital design, 

painting, sculpture, installation, as well as various 

genres of performance-making such as live art, 

site specific and cyber performance. You will 

utilise innovative technologies and networking 

tools such as blogs, broadband streaming, mobile 

technology and other web interfaces in order to 

forge new connections, facilitate debates, share 

ideas and network with a universal community 

of diverse practitioners. 

You will be tutored by artists who work in a wide 

range of art practices as well as receiving support 

from the range of disciplines provided by staff 


The Visual Language of Performance pro gramme 

will prepare you to work as an independent 

creative artist in the increasingly interdisciplinary 

and intercultural performance world. 


PeoPle

40 PeoPle 

ProFeSSorS 


44 bamFord anne 



53 drew linda 



62 Garcia david 







82 watanabe toshio 


readerS 




100 collinS Jane 


110 earley rebecca 

114 FairninGton mark 








FellowS 




150 Sandino linda 

152 Stair Julian 

154 velioS athanasios 

156 walSh maria 



courSe directorS and 

Pathway leaderS 

164 beech amanda 




174 Ghazi babak 

176 Johanknecht Susan 


182 Sandy mark 

184 StiFF andrew 

186 taylor Finlay 

188 waller tracey 

190 current reSearch deGree 

SuPerviSorS 

192 Selected PaPerS and interviewS 

193 who? me?: conFeSSionS oF a caSual 

tranSnationaliSt, by michael asbury 

200 in converSation, Jordan baseman and 

roger wilson 

205 PerForminG identity on the 

international StaGe, Jane collins and 

roger wilson 

212 muSeum FutureS: live, recorded, 

diStributed, by neal cummings 

223 drawn identitieS: PePSi, ShakerS 

and tattooS, by Stephen Farthing 

228 art and knowledGe workShoPS 

in the aGe oF networkS, by david Garcia 

234 lineS oF enQuiry, by chris wainwright 

39

40 

PeoPle 

(photo by o. baddeley)

addeley oriana 

ProFeSSor 

Biography Professor Baddeley is Director of 

Research at C-C-W and Deputy-Director of the 

research centre for Transnational Art, Identity and 

Nation (TrAIN). She studied History and Theory 

of Art at the Univer sity of Essex. Her doctoral 

subject, researching the historiography of 

definitions of ‘art’ in relation to Ancient Mexico, 

formed the basis for work on the 1992 Hayward 

exhibition The Art of Ancient Mexico. She has 

written extensively on contemporary Latin 

American art, including Drawing the Line: Art and 

Cultural Identity in Contemporary Latin America 

(Verso 1989, co-author Valerie Fraser) and 

collaborated with Gerardo Mosquera to produce 

Beyond the Fantastic: Art Criticism from Contemporary 

Latin America (inIVA/MIT 1996). With Toshio 

Watanabe and Partha Mitter, (2001–04), she 

worked on a major AHRC funded project ‘Nation, 

Identity and Modernity: Visual Culture of India, 

Japan and Mexico, 1860s–1940’. Arising from this 

project she contributed to the Victoria & Albert 

Museum’s Art Deco (2003) looking at the influence 

of ideas of Mexican culture on modern design. 

Other key publications include an essay on 

contemporary responses to Frida Kahlo in the 

catalogue to the Tate Modern exhibition 2005, 

for which she organised a major international 

conference on related themes. She is on the Inter - 

national Advisory Committee of the University 

of Essex Collection of Latin American Art, the 

editorial board of Art History and a Trustee of the 

St Catherine Foundation. 

researCh statement I am an art historian and 

cultural commentator working to understand the 

ways that history and identity intersect with 

practice in art and design. As a co-founder of the 

UAL research centre for Transnational Art, 

Identity and Nation (TrAIN – www.transnational. 

org.uk) my research is undertaken within the 

context of globalisation, identity studies and 

contemporary art practice. My earlier doctoral 

research grew out of attempting to understand 

the values and meanings of the ancient cultures 

of the Americas and the ways colonisation and 

the discourses of post- colonialism had impacted 

on the interpretation of those cultures. With a 

focus on Mexico and Latin America I have also 

worked in detail on the histories of ‘exhibiting’ 

the art of these regions and how traditions of 

display and categorisation have been responded 

to within the global structures of contemporary 

art expositions. Running through out much 

of my writing has been a fascination with the 

ways different geographic contexts impact on 

definitions of creative practice and how such 

definitions are then interpreted. 

In recent years my publications have included 

a comparative discussion of the work of Ernesto 

Neto and Gabriel Orozco (‘Re-Locating 

Authenticity and the Transnational Dilema’ in 

Transnational Correspondences, 2007) and an 

exploration of the work of Teresa Margolles in 

relation to stereo types of Mexican identity 

(‘Teresa Margolles and the Pathology of Everyday 

Death’ Dardo Magazine 5, 2007). I am continuing 

to explore issues around cultural stereotype 

and ideas of authenticity, particularly looking 

at the associations of death, gender and danger 

with cultural otherness. 

seleCted outputs and aChievements 

recent PublicationS 

2007 ‘teresa margolles and the Pathology of everyday 

death’ in dardo magazine, #5, Santiago de compostela, 

rio de Janeiro. 

2007 ‘the relocation of authenticity and transnational 

dilemmas, rio de Janeiro’ in asbury, m., and Ferreira, 

G. (eds), transnational correspondence (Special edition 

of arte and ensaios, #14), universidade Federal do 

rio de Janeiro. 

41


ernesto neto, leviathan thot, site specific installation, Pantheon, Paris, 2006 

(photo by o. baddeley)

addeley oriana 

2005 ‘reflecting on kahlo: mirrors, masquerade and the 

Politics of identification’, in: Frida kahlo, exhibition 

catalogue, tate modern, london 

2004 ‘the beautiful South: Fantasies of mexicanness’, in: 

imagined modernities, university of coimbra, Portugal 

2003 ‘ancient mexican Sources of art deco’, in: art deco, 

catalogue, victoria & albert museum, london. 

Selected conFerenceS / PreSentationS 

2009 co-organiser, and chair / panellist with charles esche: 

exhibitions and the world at large, tate britain, london. 

2009 Panel discussion with Julian Stallabrass and rosina 

cazali at Performing localities, iniva, london. 

2008 Panel discussion with Gabriela Salgado, curator of 

Public Programmes at tate modern at a State of 

exchange, iniva, london 

2008 Paper presented at a,b,c… d Symposium, 

victoria & albert museum. 

2008 co-organiser and paper presented at 28th Sao Paulo 

bienal conference, Parque ibirapuera, Sao Paulo. 

2008 teresa margolles and the Pathology of everyday death, 

lecture at the institute of american Studies. 

2007 ‘the re-location of authenticity and transnational 

dilemmas’ – paper presented at transnational 

correspondence, tate modern. 

Street mural, chicano Park, San diego, california, uSa 

(photo by o. baddeley) 

43 

2007 ‘re-locating authenticity and the transnational’ 

First international Symposium of Graduate Studies 

in art history and related Programs, 1–4 october 2007, 

universidad iberoamericana, mexico city. 

2006 the transformation of a national museum, instituto 

tomie otake, Sao Paulo. 

2006 henry moore and myths of Primitiveness, museo eva 

klabin, rio de Janeiro, british council organised lecture. 

2005 the many Faces of Frida, tate modern, london, coorganiser 

and speaker. 

2004 nation, identity & modernity: visual culture of india, 

Japan & mexico, victoria & albert museum, london, 

co-organiser and speaker. 

key PoSitionS 

editorial board member, art history, journal of the 

association of art historians. 

member of the international advisory committee of ueclaa 

(university of essex collection of latin american art). 

advisory editor of the oxford art Journal. 

trustee of the St catherine Foundation.

44 

bamFord anne 

ProFeSSor 

Biography Professor Anne Bamford is Director 

of Enterprise at C-C-W and formerly Director 

of the Engine Room and Director of Cultural 

Programmes at Creativity, Culture and Education, 

UK. She has been recognised nationally and 

internationally for her research in arts and 

cultural education, emerging literacies and visual 

communication. Through her research, she has 

pursued issues of innovation, social impact and 

equity and diversity. As a World Scholar for 

UNESCO, Bamford researched and wrote The 

Wow Factor: Global research compendium on the 

impact of the arts in education (2006) published by 

Waxmann. She has conducted major national 

impact and evaluation studies for the governments 

of Denmark, The Netherlands, Belgium, 

Iceland and Australia, was awarded the Australian 

Institute for Educational Research Outstanding 

Educational Research Award for 2002, and 

short listed for the British Female Innovator of 

the Year in 2006. Professor Bamford was elected 

as a Freeman of the Guild of Educators in 

2008 in recognition of her contribution to global 

change in education. 

researCh statement My career in arts 

education and impact evaluation in the arts, 

cultural and design area extends over 30 years and 

includes major national and international 

commissioned policy evaluation research. As the 

first Director of the Engine Room established 

at Wimbledon School of Art, my research fosters 

collaborative projects and provides opportunities 

for learning in and through the arts. The Engine 

Room acknowledges the importance of art 

as a catalyst for social learning and values artistic 

encounters and creative opportunities for all 

people. With a strong focus on working with the 

arts in the community at both local and international 

levels, my projects push the boundaries 

of research, enterprise, diversity, and community 

through innovative and creative collaborations. 

I have supervised and examined numerous students 

at the masters and doctoral levels. Through 

the adoption of a community of research 

approach, I encourage researchers to work within 

collaborative research projects and to use 

practice, arts-based and aesthetic methods to 

explore complex social, educational and cultural 

ques tions. This work has particularly focused 

on empirical measurement on intangible as well 

as tangible impacts, and has developed 

ways of identifying changes in the so-called ‘hard 

to measure’ aspects of human engagement in 

creative and cultural activity. 


Selected reSearch GrantS 

2008 research director, domestic and General: Public 

engagement evaluation. 

2008 research director, creativity connects: the role of 

cultural capital in raising aspirations of looked after 

children arts council england, John lyons trust. 

2008 research director, artists research unit: arts 

council england. 

2007–08 research director, impact of the Sciart scheme: 

wellcome trust. 

2006–07 research director, impact of the inG education 

and arts museum partnership. 

2007 chief investigator, creative Partnerships artists training 

programme pilot research, arts council london west. 

2006–08 chief investigator, creativity matters: bringing 

professional artists into early years and family learning in 

marginalised urban communities. 

2006 chief investigator, higher education innovation Fund 

knowledge transfer Fund (heiF 3), heFke. 

2006 chief investigator, an evaluation of arts, culture and 

design education in Flanders, ministry for education. 

2006 chief investigator, the impact of arts and cultural 

education in the netherlands, arts ministry netherlands 

and cultura network. 

2006–07 chief investigator, european arts and cultural 

education and summit. French ministry for culture and 

centre Pompidou. 

2006–2008 chief investigator, visual artists research unit, 

arts council england.

amFord anne 

2006 chief investigator anne Peaker centre for arts and 

criminal Justice: Scoping review of arts with black and 

ethnic minority prisoners. 

2005–06 chief investigator, 21st century education: 

the role of creativity, adobe Systems international, 

macromedia. 

2005–06 chief investigator, creativity matters: impact of 

the arts in early childhood education, ealing council, 

london. 

2005–07 chief investigator, Symposium on research carried 

out into evaluating the impact of arts education, French 

ministry of culture, French ministry of education, centre 

Pompidou. 

2005–06 chief investigator, danish impact of the arts on 

educational quality, danish arts council, danish ministry 

of education. 

2005–06 chief investigator, visual artist research unit, arts 


2004–05 chief investigator, uneSco Global impact of the 

arts in education. australia council, iFacca, uneSco. 

Selected PublicationS 

2007 ‘image ready: die bedeutung der visuellen bildung’ 

in niehoff, r. and wenrich, r. (eds), denken und lernen 

mit bildren: interdisziplinäre zugänge zur ästhetischen 

bildung kopaed, münchen. 

2007 with Qvortrup, m., the politics of the soul: eudmonia 

for the future zed books, london (under review). 

2006 ‘into the future: the challenges for quality arts and 

design education’ in davies, a. 2006 enhancing 

curricula: contributing to the future, meeting the 

challenges of the 21st century in the disciplines of art, 

design and communication, the centre for learning and 

teaching in art and design (cltad), london. 

2006 the wow Factor: the global research compendium on 

the impact of arts in education, waxmann münster, 

berlin (also published in korean and Spanish). 

2006 ‘building innovation: the impact of education in and 

through the arts’ in oakley, k. et al. 2006 how are we 

going? directions for the arts in the creative age, 

cambridge Scholars Press, london. 

2004 the visual arts book, heinemann, Sydney. 

Selected commiSSioned rePortS/documentS 

2008 creative Partnerships artists training Programme, 

arts council england, london. 

2007 an evaluative report of arts in prisons, anne Peaker 

centre for arts in criminal Justice (aPc), canterbury. 

2007 netwerken en verbindingen: arts and cultural 

education in the netherlands, dutch ministry for 

education, culture and Sport. 

45 

2007 kwaliteit en consistentie: arts and cultural education 

in Flanders, canon cultural unit, ministry for education 

Flanders. 

2007 creativity matters: the arts in early years, london 

borough of ealing. 

2006 with Qvortrup m. an ildsjæl in the classroom, 

copenhagen, the danish arts council. 

2005 the Global research compendium on the impact of the 

arts in education, in uneSco asia-Pacific regional 

conference report. 

2004 education and arts Partnership initiative: national 

report, australia council for the arts. 

Selected Journal articleS 

2007 ‘elke leerling een culturelle rugzak’, cultuureducatie 

magazine, winter 07/08 (www.cjp.nl/docenten) 

2007 ‘het delen van verbindingen’, courant : dossier 

onderwijs en cultuur, vol.83. 

2006 ‘l’éducation artistique en australie’, revue 

internationale d’education, #42. 

2006 ‘l’éducation artistique dans le monde’, revue 

internationale d’education, #42. 

2006 with Qvortrup, m. book review: ‘Jacques ranciére: 

the politics of aesthetics: the distribution of the 

Sensible’, millennium – Journal of international Studies, 

vol.34. 

2006 ‘adolescent identity, cyber bullying and ethics in 

information communication technologies’, international 

Journal of the humanities, vol.2. 

2005 with hernandez, F. ‘las artes son un pilar básico de la 

educación del futuro’, cuadernos de Pedagogia, #351. 

2005 with thompson, d. ‘transforming student assessment 

to liberate pedagogy’, Snapshots: Journal of innovation 

in education, vol.3, #2. 

2005 with brown i. ‘deconstructing strategies students 

apply to view, interpret and make visual images’, 

international visual literacy association book of 

Selected readings, 2004 annual ivla conference.

46 

coldwell Paul 

ProFeSSor 

Biography Professor Paul Coldwell is Acting 

Director of the University research centre SCIRIA. 

He has recently led a two-year AHRC funded 

project, The Personal ised Surface within Fine Art 

Digital Printmaking. He has taught in numerous 

colleges throughout UK and abroad and 

contributed to many interna tional conferences 

and symposia on Printmaking. 

His art practice includes prints, book works, 

sculptures and installations. He has exhibited 

widely, his work is included in numerous public 

collections, including Tate, Victoria & Albert 

Museum (V&A), British Museum and the Arts 

Council of England, has been selected to represent 

UK at the Ljubljana Print Biennial in 2005 and 

1997, selected for the International Print Triennial, 

Cracow in 2000, 2003, 2006 and 2009, and the 

Northern Print Biennial in 2009. His most recent 

solo exhibition was I called while you were out at 

Kettle’s Yard Cambridge, 2008–09. 

He has curated a number of exhibitions including 

Computers & Printmaking, Birmingham Museum 

& Art Galleries, Digital Responses, V&A and most 

recently, Morandi’s Legacy; Influences on British Art 

at the Estorick Collection London, accompanied 

by a book published by Philip Wilson. His work is 

featured in the recent book Prints Now (Saunders 

& Miles) and is currently preparing a major new 

book on contemporary printmaking for Black 

Dog Publishers due February 2010. 

researCh statement My research is focused 

on a practiced-based approach and located within 

fine art. Through printmaking, sculpture, 

installation and writing, I explore issues around 

absence and loss, with ideas crossing between 

media. A recurring question for me is how the 

new technologies impact on previous processes, 

in particular within printmaking and how digital 

technologies can inform and rejuvenate older 

technologies such as etching and screen-print. 

This fits in to my broader commitment to printmaking 

both as a practitioner but also through 

raising awareness of the value and quality of print 

over and beyond its role as a reproducible media. 

I have written on a number of artists including 

Ardizzone, Rego, Morandi, Caulfield and Craig- 

Martin and I am currently the contributing editor 

for a forthcoming book Printmaking – A Contemporary 

Perspective to be published by Black Dog 

Publishing in February 2010. 

I have just concluded a two year AHRC funded 

project, The Personalised Surface within Fine Art 

Digital Printmaking which considered a range 

of approaches that artists have adopted to ensure 

a haptic relationship with their work when 

working with and through digital technologies. 

This is part of my broader research within 

printmaking and I am now in the process of 

developing a new project with Susan 

Johanknecht, which will consider the Folio and 

Artists book as sites of inquiry. 

I have often used collections as locations for my 

research and practice. These have included, the 

V&A, Kettle’s Yard and a current project that I am 

developing with the John Soane Museum. Writing 

has increasingly played an important role in 

my research, looking for ways of using a narrative 

language to explore and articulate ideas. My 

recent projects and exhibition at The Estorick 

Collection, Morandi’s Legacy; Influences on British 

Art, and at Kettles Yard, I called while you were out, 

were both accompanied by substantial narrative 

essays in which I attempted to show how I gather 

material and how this relates to my working 

process.

coldwell Paul 

Paul coldwell, man and nature-Jacket, digital inkjet print, 65 × 90 cm, 2008 


Selected Solo exhibitionS 

2008–09 i called while you were out, kettle’s yard, 

cambridge. 

2008 Graphic work, an-dan-te Gallery, korea. 

2007 kafka’s doll and other works, eagle Gallery. 

2005 Paul coldwell – recent Prints, edinburgh Printmakers. 

2002 ‘case Studies’, london Print Studio; Queens Gallery, 

new delhi, india; Gallerie 88, kolkata, india. 

Selected GrouP exhibitionS 

2009 Points of contact, universidade Federal do rio Grande 

do Sul, Porto alegre, brazil. 

2008 close to the Surface: digital Presence, ica, london. 

2007 international multiple art exhibition, Gyeongnam 

international art Festival, korea. 

2007 territories, Study centre Poole. 

2007 14th tallinn Print triennial. 

2006 international Print triennial, cracow, Poland. 

2006 Prints now, victoria & albert museum, london. 

2006 international Print triennial, cracow, Poland. 

2005 Sculpture; time & Process, Study Gallery Poole. 

2005 new works; Paul coldwell – richard Slee, camberwell. 

2005 ljubljana biennial, invited artist, Slovenia. 

2003 international Print triennial, cracow, contemporary 

art Palace, cracow; horst Janssen museum, oldenburg. 

2003 4th egyptian international Print triennale, 

cairo, egypt. 

Selected curatorial ProJectS 

2006 moriandi’s legacy: influences on british art, abbott 

hall, cumbria. 

2004 beyond the digital Surface, ewah Gallery, Seoul. 

2002–03 digital responses, victoria & albert museum. 

bookS 

2009 Personalised Surface; new approaches to digital 

Printmaking, Publication concluding two year ahrc 

research project. 

2006 morandi’s legacy: influences on british art, london, 

Philip wilson Publishers. 

2005 Paula rego – Printmaker, london, 

marlborough Graphics. 

2005 Finding Spaces between Shadows, london, 

camberwell Press. 

47


Paul coldwell, Framing nature-trees, screenprint, 75 × 100 cm, 2008 

Selected PubliShed writinGS 

2008 ‘between digital & Physical’, in Journal of the new 

media caucus, vol.4, #02. 

2008 Guest editor of Journal of the new media caucus, 

vol.04, #02. 

2008 essay in i called when you were out, kettle’s yard. 

2006 moriandi’s legacy; influences on biritish art, 

Philip wilson. 

2005 ‘ceramic as canvas collaboration with Spode has 

proved to be a fruitful relationship for charlotte hodes’, 

in ceramic review, #213. 

2003 ‘Paula rego’s Graphic technique’, in Paula rego – 

the complete Graphic work, london,thames & hudson. 

2003 ‘born with a Silver Spoon’, in digital responses, 

cd-rom, london victoria & albert museum. 

2003 ‘negotiating the Surface’, in digital Surface within 

Fine art Practice (cdrom), dublin, ncad, uiah+li. 

PreSentationS/conFerence contributionS 

2007 ‘three bookworks – memory and identity’, at 

impact international Printmaking conference, tallinn. 

2007 ‘the personalised surface within fine art digital 

printmaking’, at impact international Printmaking 

conference, tallinn. 

2004 ‘integrating the computer’, at Pixel raiders 2, 

Sheffield hallam university, april. 

2004 ‘the Surface as meaning’, at beyond the digital 

Surface – conference Proceedings, Seoul, 

ewha womans university. 

2003 ‘making historie’, at Southern Graphics council 

conference, boston. 

2003 ‘Preservation and conservation issues related to 

digital Printing and Photography’, at conference at 

institute of Physics, heriot watt university edinburgh. 

2003 ‘the digital Surface’, at culture 2000 conference, 

tate britain. 

2003 ‘an exploration of aesthetics in a digital age’, at 

Southern Graphics council conference, boston april, 

boston, uSa. 

Selected awardS 

2008 ahrc Practice-led and applied Grant: ‘absence and 

Presence.’ 

2007 Principal investigator, 2 year ahrc research grant for 

the project ‘Personalised Surface within Fine art digital 

Print making’. 

2005 ahrb Small award for work relating to potential use 

of haptic technology for digital engraving (in collaboration 

with dr angie Geary).

coldwell Paul 

Paul coldwell, Seven Familiar objects, bronze, 29 × 14 × 200 cm, 2008 

2004 ahrb Small Grant: morandi; themes in british 

contemporary art. 

2002 Project leader, digital Surface within Fine art 

Practice, eu funded project through culture 2000 with 

london institute, national college of art and design, 

dublin, and university of art and design, helsink 

Selected lectureS/talkS 

2008 Paul coldwell and roger wilson in conversation, 

kettle’s yard, cambridge. 

2007 Paula rego – Printmaker, birmingham museum and 

art Gallery. 

2007 Paul coldwell – the role of Printmaking, original 

Print Fair, ra, london. 

2007 multi-Print Symposium, bradford. 

2007 kafka’s doll, eagle Gallery london. 

2007 morandi’s Prints, british museum. 

2006 moriandi’s legacy; influences on british art, 

abbot hall, museo morandi bologna, italian 

cultural institute, london. 

2006 Paula rego – Printmaker, rca. 

2006 Sites of memory, inaugral lecture, university of 

northampton. 

2005 Paula rego – Printmaker, talbot rice edinburgh, 

brighton museum & art Gallery. 

2005 the condition of Print, impact international Print 

conference, berlin/Poznan. 

2005 imagined Journey’s, impact 1v, berlin–Poznan. 

2005 the artist as curator, institute of curatorship and 

education, edinburgh college of art. 

2002 case Studies, british high commission, delhi and 

Gallerie 88, calcutta. 

49

50 

cumminGS neil 

ProFeSSor 

Biography Neil Cummings is Professor of 

Critical Practice at Chelsea. He was born in Wales, 

and lives in London. 

(www.neilcummings.com). 

researCh statement I have evolved a multidisciplinary 

art practice that often requires an 

intense period of research within the specific 

contexts in which art is produced, distributed and 

encounters its audiences. Principally this has 

meant working directly with Museums, Galleries 

(both public and commercial) Archives and Art 

Schools. 

I often work collaboratively with other artists, 

curators, academics researchers or producers, to 

create artworks, exhibitions and events from 

existing collections or contexts. Each artwork or 

event finds the appropriate form, and these 

are as varied as creating exhibitions – Enthusiasm 

at the Whitechapel Gallery, curating film 

programmes – Social Cinema at several temporary 

locations in central London, writing and editing 

films – Museum Futures; Distributed, books – 

The Value of Things, and convening participatory 

conferences – Open Congress at Tate. 

Currently I am interested in the political economy 

of creativity, and how art is instituted. While 

at Chelsea I contribute to the research cluster 

Critical Practice (www.criticalpracticechelsea.org). 


Selected exhibitionS and ProJectS 

2009 lapdogs installed at the arnolfini in bristol as part of 

lapdogs of the bourgeoisie. 

2008 lapdogs screened at the townhouse Gallery in 

cairo, egypt. 

2008 Post production a special programme curated from the 

enthusiasts archive (www.enthusiastsarchive.net) for 

manifesta 7, installed in the ex-alumix factory in 

bolzano, italy. 

2008 museum Futures: live recorded distributed project 

commissioned by moderna museet, Stockholm, Sweden, 

as part of their Jubilee celebrations. 

2007 Parade, commissioned for the contour Film biennial, 

exhibited in mechelen, belgium, and artlife a 

simultaneous project for transit Gallery, belgium. 

2006 Generosity as part of Protections, kunsthaus Graz, 

austria. 

2006 launch of the enthusiasts archive 

(www.enthusiastsarchive.net), an on-line extension of 

enthusiasm. 

2005–06 industrialtownfurturism: 100 years of wolfsburg 

and nowa huta, opened at the kunstverein wolfsburg in 

december 2005 and closed in nowa huta, cracow in 

november 2006, commissioned by the london 

architecture biennale. 

2005–06 Screen test 1/4, exhibited as part of the british art 

Show Six, touring exhibition with catalogue. 

2005 enthusiasm, major exhibition at the whitechapel art 

Gallery, london and touring to kunst werke, berlin and 

the tapies Foundation, barcelona, accompanying trilingual 

publication. 

2004 enthusiasts, the centre for contemporary art, 

warsaw, Poland, bi-lingual publication. 

2004 the commons, a distributed artwork at key sites in 

liverpool, commissioned as part of the international 

section of the liverpool biennial. 

2003 Free trade, manchester art Gallery, manchester, uk. 

Selected textS 

2008 Selection of texts, the history book: on moderna 

museet 1958–2008, moderna museet and Steidl verlag, 

Germany. 

2007 ‘From capital to enthusiasm’. in macdonald, S. and 

basu, P. (eds) exhibition experiments, blackwell 

Publishing, oxford. 

2006 ‘a shadow of marx’, in Jones, a. (ed.) a companion to 

art Since 1945, blackwell Publishing, oxford. 

2005 ‘relations audiences, institutions and values’, in 

british art Show Six catalogue, hayward Gallery 

Publishing, london. 

2004 ‘an economy of love’, in cox, G., krysa, J. and lewin, 

a. (eds) economising culture: on the digital culture 

industry, autonomedia, new york. 

2004 ‘From things to Flows’, in Stahel, u., Seelig, t. (eds) 

the ecstacy of things, Steidl verlag, Gottingen. 

2004 ‘collision’, in Preziosi, d. and Fargo, c. (eds) Grasping 

the world: the idea of the museum, ashgate, london. 

2003 ‘reprise’, published as part of independence, South 

london Gallery, london.

cumminGS neil 

neil cummings, lapdogs (installation), for lapdogs of the bourgeoisie arnolfini bristol, 2008–09 

(image outside of copyright, and creative commons license) 

Selected PreSentationS and conFerence 

PaPerS 

2006 keynote presentation on Screen tests, at cimam 

annual conference, tate modern, london. 

2006 ‘virtual communities versus Physical realities’, at 

Future of community Festival, london. 

2006 Paper presented at anticipating the Past: artist: 

archive: Film, tate modern, london. 

2005 co-organiser as part of critical Practice, open 

congress, tate britain, london. 

2005 ‘introduction of enthusiast: archive’ at remix culture: 

creative commons and creativity, university of Sussex. 

2004 keynote presentation ‘a Joy Forever (and its place in 

the market)’ at 30th annual conference of the 

association of art historians, nottingham. 

2004 ‘new Paradigms of contemporary art’, at caixaForum, 

barcelona, Spain. 

2003 Presentation at Fieldworks; dialogues between art and 

anthropology, conference organized by tate modern and 

the university of london, in association with Goldsmiths 

college and university college london. tate modern, 

london. 

2003 ‘collections cultures change’, contributed to a threeday 

conference organized by the centre for museology & 

the manchester museum, university of manchester. 

2003 ‘the Gift: generous offerings, threatening hospitality’, 

bronx museum, new york. 

2002 ‘From material things: art and artifact in the 21st 

century’, the british museum, london. 

2002 ‘Polyphony of voices’ contemporary curatorial 

Strategies and Practices conference, at bunkier Sztuki 

centre for contemporary art, cracow, Poland. 

51


neil cummings and marysia lewandowska, Post Production (installation), a special programme curated from the 

enthusiasts: archive for manifesta 7, bolzano, italy, 2008 (images outside of copyright, and creative commons license) 

PlaceS on committeeS and Selection PanelS 

2009 Peer review college member, ahrc. 

2007 trustee, nottingham contemporary. 

2006 member of editorial board, documents in 

contemporary art. 

2002 member of tate / chelsea liaison Group. 

viSitinG FellowShiPS 

2004 visiting Professor, Grinnell college, iowa, uSa. 

2005 visiting Scholar, university of the arts in boulder, 

colorado, uSa

drew linda 

ProFeSSor 

Biography Professor, Dr Linda Drew, is Dean of 

the Graduate School at C-C-W. Professor Drew 

was previously Head of College (acting 2006–07) 

and Dean (2003–06) at Chelsea College of Art and 

Design and Co-Direc tor of the Art, Design and 

Communication subject centre, (2000–03) based 

at the University of Brighton. She is editor of the 

peer-reviewed journal Art, Design and Communication 

in Higher Education published by Intellect 

and maintains a lively interest in all matters 

relating to publishing and research capacity 

building in this field. 

Her research interests focus on conceptions of, 

and approaches to, learning and teaching situated 

within the context of practice-based disciplines. 

In this regard she is one of a growing clutch 

of active design researchers working with both 

phenomenographic and social constructivist 

approaches to research. Professor Drew is 

currently engaged by the Singaporean Ministry 

of Education as a member of its AQAF (Arts 

Quality Assurance Framework) External Review 

Panel which is reviewing arts higher education 

provision in Singapore (2008–10). She has 

represented the University of the Arts London on 

the Singapore British Business Council since 

2005. Linda is an alumna of Saint Martins School 

of Art and a Fellow of the Design Research 

Society (FDRS). 

researCh statement My research interests 

are concerned with understanding the experience 

of learning and teaching, particularly in creative 

practice domains. I have attained a national and 

international profile in this area, through 

publishing papers and presenting at international 

research conferences in art and design, particularly 

in learning and teaching. I have a high 

quality publication record, with more than ten 

papers in peer-reviewed journals or edited 

collections. This is supplemented with over 

twenty conference papers, some of which are 

published in proceedings, some electronically 

(i.e. CD/DVD) or available on the web. 

53 

On the basis of this research and my wider leadership 

activities I have been involved in conference 

steering committees and have acted as a referee 

for conferences, highly respected journals and 

nationally funded projects (National Teaching 

Fellowship Scheme, individual and project 

strand). I have a wide understanding of the field of 

art and design research developed through my 

own research and the review and/or development 

of the work of others. 

In 2007 I was made a fellow of the Design 

Research Society (DRS), an honour bestowed on 

a very small number of design researchers. 

I am the founding Editor of the international 

refereed journal Art, Design and Communication in 

Higher Education, which, from experience, reflects 

a significant amount of development time. I have 

nurtured an international editorial board from 

development meetings in September 2000 to the 

launch in April 2002. The journal is one of a small 

number of art and design journals that is helping 

to shape the art and design research discourse 

of the future. The issue of developing research 

quality and capability in art and design pedagogic 

research was the topic of my address to the DRS 

Rising Stars Symposium in July 2005, a platform 

provided in recognition of my standing within 

the international design research community 

Recent development themes include the relationship 

between research and teaching which 

has been a focus for many UK HEIs. I have given

54 drew linda 

several keynote addresses at events around this 

theme (eg. Design Education Forum of South 

Africa, 2007). 

I have secured significant funding for the pursuance 

of pedagogic development and research at 

the University through the CLIP CETL (Creative 

Learning in Practice – Centre for Excellence in 

Learning and Teaching), representing HEFCE 

total funding of £4.85 million over five years. 



2008 with Shreeve, a. and wareing, S. ‘key aspects of 

teaching and learning in the visual arts’, in a handbook 

for teaching and learning in higher education: 

enhancing academic Practice, Fry, S., ketteridge, S. and 

marshall, S. (eds), london: routledge. 

2008 editor and contributor, the student experience in art 

and design higher education: drivers for change, 

cambridge: Jill rogers associates. 

2007 ‘designing the interface between research, learning and 

teaching’, in design research Quarterly, 2 (3). 

2006 with Shreeve, a. ‘assessment as participation in 

practice’, in rust, c. (ed.) improving Student learning: 

improving Student learning through assessment, oxford: 

oxford brookes university, oxford centre for Staff and 

learning development. 

2005 ‘variation in approaches to learning and teaching in 

disciplinary contexts: how to accommodate diversity?’, in 

rust, c. (ed.) improving Student learning: diversity and 

inclusivity, oxford: oxford brookes university, oxford 

centre for Staff and learning development. 

2004 ‘the experience of teaching creative Practices: 

conceptions and approaches to teaching in the 

community Practice dimensions’, in davies, a. (ed.) 

enhancing curricula: towards the Scholarship of 

teaching art, design and communication in higher 

education, cltad, london. 

2004 with breslow, l., healey, m., matthew, r. and norton, 

l., ‘intellectual curiosity: a catalyst for the Scholarship 

of teaching and learning and education’, in elvidge, l. 

(ed.) exploring academic development in higher 

education: issues of engagement. 

2004 with bailey, S. and Shreeve, a. ‘Students’ approaches 

to the “research” component in the fashion design 

project: variation in students’ experience of the research 

process.’, in art design and communication in higher 

education, vol.2/3. 

Selected conFerence PaPerS 

2006 with last, J. ‘evaluating the student experience in art 

and design.’, paper presented at 3rd biennial cltad 

conference: enhancing curricula: contributing to the 

future, meeting the challenges of the 21st century in the 

disciplines of art, design and communication, lisbon, 

Portugal. 

2005 ‘open Source technology as a learning tool to enhance 

students’ critical and conceptual abilities.’, paper 

presented at open congress, tate britain, london, uk. 

2004 ‘variation in the experience of teaching design: the 

community of practice dimension’ at design research 

Society international conference, monash university, 

melbourne, australia. 

2004 ‘the experience of teaching creative practices: the 

community of practice dimension.’, at enhancing the 

curricula: towards the Scholarship of teaching in art, 

design and communication, barcelona, Spain. 

2003 ‘approaches to teaching: extending “theory” in the 

context of art, design and communication.’, paper 

presented at improving Student learning: theory, 

research and Scholarship, the 11th international 

improving Student learning Symposium, hinckley, 

leicestershire. 

2003 ‘Qualitative differences in approaches to teaching, 

teacher satisfaction and communities of practice in art, 

design and communication courses’, at 10th biennial 

earli (european association for research in learning 

and instruction) conference, Padova, italy. 

keynote PreSentationS 

2009 key-note speaker at inaugural design Pedagogy SiG 

(drS), coventry School of art and design, coventry 

university. 

2007 key-note speaker at deFSa (design education Forum 

of South africa) Flux ‘07, cape town, South africa. 

2005 ‘designing pedagogic research: learning and teaching 

practice, scholarship and research.’, at design research 

Society: rising Stars, institute of Pharmacists, london, 

uk. 

memberShiP oF ProFeSSional bodieS 

2006 elected vice-chair, design research Society (drS). 

2002 design research Society (drS), elected to council July 

2005. 

2000 Glad Secretary (Group for learning in art and 

design). 

editorial PoSitionS 

2007– member of editorial board, design Studies. 

2006– member of editorial board, Journal of writing in 

creative Practice.

drew linda 

art, design and communication in higher education (international peerreviewed 

journal), edited by Professor linda drew 

55

56 

elweS catherine 

ProFeSSor 

Biography Catherine Elwes is a Professor at 

Camberwell. She studied Fine Art at the Slade 

School of Art, and graduated with an MA in 

Environmental Media from the Royal College of 

Art, London in 1983. In the late 1970s she was a 

member of the Women Artists’ Collective and 

co-curated two landmark feminist exhibitions, 

Women’s Images of Men and About Time, both held 

at the ICA in London in 1980. From the early 

1980s she specialised in video, exploring 

representation and the body, gender and identity. 

As an artist, she has participated in multiple 

international festivals, recently including the 

British Art Show in Australia; Video Brazil in Sao 

Paulo, Brazil; Recent British Video in New York, 

USA. Her tapes have been shown on Channel 4 as 

well as Spanish, Canadian and French networks . 

Her work is archived at LUXONLINE and 

REWIND. 

An internationally established artist, critic and 

expert in early moving image culture, Elwes’ 

diverse practice includes video and installation, 

writing, curating and teaching. She is the author 

of Video Loupe (KT Press, 2000) and Video Art – 

A guided Tour (I.B. Tauris, 2005), and writes for 

publications such as Filmwaves & Vertigo, Third 

Text, Contemporary Magazine, and Art Monthly. 

She has written monographs on individual artists, 

and numerous book chapters and catalogue 

essays. She is currently writing Installation and the 

Moving Image and Landscape and the Moving Image 

for Wallflower Press. 

From 2000, she was Director of the UK/Canadian 

Video Exchange, a biennial event that featured 

video from across Canada and the UK, and in 

2006, she co-curated ANALOGUE, an international 

exhibition of pioneering video art from 

the UK, Canada and Poland. Her most recent 

curatorial project has been Figuring Landscapes, 

a collection of 55 works on themes of landscape 

from the UK and Australia, currently touring both 

countries. 

Her own practice as a video artist continues to 

inform both her writing and her curating. 

researCh statement I continue to investigate 

the social, cultural and aesthetic dimensions of 

moving image art through my writings and my 

curatorial work. I am particularly interested in 

the historical evolution of moving image and its 

ability to elaborate issues around identity, 

political activism, visual pleasure and landscape. 

Further, I am concerned to create textual portraits 

of individual practitioners in order to deepen 

insight into the creative process and the range 

and ambition that currently animates moving 

image art. 

My current practice as an artist is rooted in an 

investigation of masculinity as it solidifies and 

dissolves around the image of the war hero. 

The relationship of the individual combatant to 

both history and the artist who attempts to retell 

his story in the present, operates in an area of 

ethical and practical difficulty and necessitates 

substantial experimentation and tact. My most 

recent video, Pam’s War (2008) focuses on a 

woman’s experience of WW2 and is currently 

touring Australia and the UK as part of Figuring 

Landscapes. 

I have embarked on a new area of research around 

issues of Landscape in the Moving Image. Landscape 

represents a major theme in artists’ film 

and video, both historically and in contempo rary 

practice. This is an under-researched area 

that nonetheless encompasses a wide range of

elweS catherine 

6–8 February 2009, the audience at the tate modern screenings and symposium for Figuring landscapes, 

an international touring exhibition of 55 artists’ film and video from australia and the uk, devised by 

catherine elwes and Steven ball 

concerns from the lyrical, romantic tradition 

inherited from painting to the activation of the 

narrative backdrop that derives from mainstream 

film. The politics of space is also of concern 

particularly in the context of Australia where 

Aboriginal land rights are still in dispute. 

However, the relationship of ownership to 

representation is an issue in post-colonial as well 

as indigenous imaging traditions. Landscape 

and memory inform my own practice and the use 

of landscape as a cypher of the human imagination 

intersects with all other aspects of the 

theory and practice of landscape film and video. 


57 

authored bookS 

2005 elwes, c.,video art – a guided tour, london: i.b.tauris. 

2000 elwes, c., video loupe: a collection of essays by and 

about the videomaker and critic catherine elwes, 

london: kt Press, 2000. 


2008–10 Figuring landscapes, touring exhibition. 

2006 analogue: Pioneering video from the uk, canada and 

Poland (1968–88), tate modern and tate britain, toured 

nationally and internationally. 

1998–03 co-curator, uk/canadian Film & video exchange, 

South london Gallery, and canadian venues. 

Selected exhibitionS 

2008–10 Pam’s war, exhibited at Figuring landscapes, 

touring exhibition. 

2008 travelling Shots, exhibited at transcentric, lethaby 

Gallery, cSm, london.


2008 re-reading Pam, exhibited at one-minute, volume 2, 

touring to various venues including contemporary art 

Fair, essen, Germany; Proxy nod, Prague, czech 

republic; the marseille Project Gallery, France; 

artprojx, london. 

2008 travelling Shots, exhibited at drawn encounters, 

the Gallery at wimbledon college of art, london. 

2004 out of conflict, catherine elwes and cornford & cross, 

artSway centre, new Forest; lethaby Gallery, london; 

and hat Factory, luton. 

2003 a century of artists’ Film, tate britain, london 

Selected eSSayS and articleS 

2009 ‘in the Perceptible Field’, in vertigo magazine, 

vol.4, #3. 

2008 ‘kate adams: Feeling and knowing’, vertigo magazine, 

vol.4, #1. 

2006 ‘tamara krikorian, defending the Frontier’ and ‘war 

Stories, or why i made videos about old soldiers’, in Film 

& video anthology, hatfield, J. (ed.), london: John 

libbey Publishing. 

2005 ‘a meeting of minds’, in talking back to Science, art, 

Science and the Personal, wellcome Foundation, uk. 

2005 ‘thoughts on Screen, the films of william raban’, 

vertigo magazine, vol.2, #8. 

2005 ‘a Polemical history of video, in brief’, contemporary 

magazine, #71. 

catherine elwes, telling tales aboard bluefin, dvd, 22 min, installation shot, 

box 38 gallery, ostend, belgium, 2007 

2005 ‘the blood red heart of Johanna darke’, in Gunilla 

Josephson, exhibition catalogue, centre culturel 

canadien, Paris. 

2004 ‘on Performance and Performativity’, in third text, 

vol.18, #2. 


PaPerS 

2009 ‘the domestic Spaces of video installation – 

television, the Gallery and online’, at expanded cinema, 

tate modern. 

2009 ‘drawing and the moving image’, at drawn encounters, 

british School at rome. 

2009 ‘drawing and the moving image’, at drawn encounters, 

Forum for drawing, london college of Fashion. 

2005 video art – From the margins to the mainstream: 

a Symposium curated by three artists, co-curator and 

speaker, tate britain, london. 

2005 ‘Practice-based research, some niggling concerns’, 

paper for conference: Practice-based research in the 

audiovisual and digital Field, ahrb centre for british 

Film & television Studies, birkbeck college, london. 

2004 ‘a Parallel universe: the uk/canadian Film & video 

exchange 98–04 and the ica shows of women’s art 

in 1980’, paper for conference: curatorial Strategy as 

critical intervention, kent institute of art & design, 

kent.

FarthinG Stephen 

ProFeSSor 

Biography Professor Stephen Farthing is the 

Rootstein Hopkins Chair of Drawing at the 

University of the Arts London and Director of the 

Centre for Drawing based a Wimbledon. He is 

currently writing A Practical Guide to Drawing for 

Tate Gallery Publications, London, developing a 

drawing education project for the British Museum 

and The Life Room an exhibition for Chelsea Space, 

London for autumn 2009. His book, 501 Great 

Artists has been chosen by the New York Public 

Library as one of the top 25 reference books 

published last year. As Director of the Centre for 

Drawing, a research centre based at Wimbledon 

that co-ordinates and stimulates cross disciplinary 

research into drawing. Farthing is involved with a 

number of projects with overseas institutions, 

which include: RMIT and Monash Universities in 

Melbourne, The University of Auckland and the 

National Art School Sydney. Recently his practice 

as an artist has involved completing commissions 

for Villa Park stadium in Birmingham as well as 

participating in exhibitions at The Drawing 

Gallery, the Hong Kong University and the Royal 

Academy. He has an upcoming solo show at Purdy 

Hicks Gallery in London, November 2009. 

researCh statement All my research is geared 

towards establishing, first a definition of drawing, 

then a more complete understanding of drawing 

as an aspect of general literacy and finally effective 

ways of teaching drawing today. 

In the first instance most of my research is 

collections and archive based, for the most part 

this involves visiting collections then trying to 

make sense of what I see, this is done by a mix of 

drawing and writing. Currently I am focusing on 

two primary areas; modern American drawing 

and the drawings made after first contact by pre 

literate societies. 

59 

At a more physical level I am working with Aston 

Villa FC exploring links between sports 

skill and drawing skill acquisition. In two projects 

developed with the British Museum and Tate 

Gallery, London, I am using historical drawing 

collections as a means of assessing the value of 

redrawing fine examples as a part of the process of 

improving participants drawing skills. 

All projects are based on a process of working 

with professional artists, students and school 

children in qualitative assessment studies. 

Finally, there is no strong separation between my 

activities as a painter and my research as a 

Professor of Drawing, one feeds the other, archival 

work on drawing informs my painting just 

as practical research projects in drawing serve to 

inform my painting. 



2008 Stephen Farthing ra (20 years of Painting), Passmore 

Gallery, london. 

2007 man reading a news Paper, monash university, 


2003 the modern affair, amangansett applied arts, 

amangansett, new york, uSa. 


2009 royal academy Summer exhibition, royal academy 

of art, london. 

2008 when Photography and drawing meet Fashion, 

Fashion and textiles resource centre, the hong kong 

Polytechnic university. 

2008 40 artists 80 drawings, the drawing Gallery, 

Shropshire. 

2008 Free art Fair, 4, 19, 21 new Quebec Street and 5, 8, 

16 Seymour Place, Portman village, london. 

2008 in drawing, Purdy hicks Gallery, london. 

2008 drawn encounters, the Gallery at wimbledon college 


2007 drawing breath, national art SchoSydney, australia. 

2007 drawing breath, nanyang academy of Fine arts. 

2007 Stranger Geography, Palazzo vaj, Prato, italy. 

2007 Stranger Geography, kingsgate Gallery, london.


Stephen Farthing, the bigger Picture of drawing, image title: a tonal drawing of a lion in water vapour, location: 

amagansett ny, looking west, 6 pm, 5.7.08, photograph, 3 km × 2km (approx.), 2008 

2007 drawing towards Fashion, Fashion Space Gallery, 

london college of Fashion, london. 

2006 drawing breath, the Gallery at wimbledon college 


2006–07 after turner: ely cathedral: the interior of the 

octagon exhibited at drawing from turner, clore 

Galleries, tate britain. 


2007 leaf & leopard: an analysis of the elements of 

drawing, Gus Fischer art Gallery, the university of 

auckland, new zealand. 

2006–07 drawing from turner, clore Galleries, tate britain. 

Selected PubliShed bookS 

2008 editor, 501 Great artists, barron’s educational Series 

(uk) and Penguin (new zealand). 

2007 editor, 1001 Paintings you must See before you die, 

uk: cassel, australia: abc books, uSa: rizzoli. 

2004 a curriculum for artists, the laboratory at the ruskin 

School of drawing and Fine art, and the new york 

academy of art. 

Selected PubliShed writinGS 

2009 ‘on drawing a man reading a newspaper’ in visual 

communication, vol.8, #2. 

2008 chapter in Garner, S. (ed.) writing on drawing, 

intellect books (uk). 

2008 ‘a new Poetry in Painting’, in Jerwood young Painters 

awards catalogue. 

2008 ‘catalogue essay’, in the whiteness of Paper, 

wimbledon School of art Gallery. 

2006 ‘drawing from turner’, in turner Society news, #104. 

Selected conFerence PreSentationS 

2008 ‘Performing marks’, at radcliffe institute for advanced 

research, university of harvard, cambridge ma.

FarthinG Stephen 

Stephen Farthing, the bigger Picture of drawing, image title: the stars don’t have 

numbers, asterism drawing from Pleiades, pencil on paper, 50 × 50 cm, 2009 

2008 ‘drawing australia’, at drawn encounters: complex 

identities, bSr, rome. 

2007 key-note speaker at drawing breath, national arts 

School, Sydney, australia. 

2007 key-note speaker at transcription conference, monash 

university, melbourne australia. 

2002 key-note speaker at cltad conference: enhancing 

curricula, rib, london. 

61 

Stephen Farthing, the bigger Picture of drawing, 

a tonal drawing in dark and light granite of america, location: 

washington dc, photograph, 1000 × 1000 cm, 2009

62 

Garcia david 

ProFeSSor 

Biography Professor David Garcia is Dean of 

Chelsea College of Art and Design and previously 

Professor of Design for Digital Cultures, research 

programme based at Hogeschool voor de Kunsten, 

Utrecht and the University of Portsmouth. 

In 1983 he co-founded Time Based Arts, which 

went on to become one of the premier venues for 

international media arts in the Netherlands. From 

this basis he went on to develop a series of high 

profile international media arts events the most 

significant being The Next 5 Minutes (1994–2003) 

a series of international conferences and exhibitions 

on electronic communications and political 

culture. Recently (since 2006 as part of the Digital 

Cultures program) he initiated (Un)common 

Ground a research programme consisting of 

structured expert meetings and publications, 

investigating the new role of art and design as a 

catalyst for collaboration across sectors and 

disciplines. In 2007 he edited and contributed to 

the book (Un)common Ground, Creative Encounters 

Across Sectors and Disciplines, which was launched 

in spring 2007 at the Enter Festival, Cambridge. 

researCh statement The focus of my work is 

what I call tactical media – the impact of the rise 

of small scale DIY media and tools and networks 

in art, social and political activism and the rise of 

new social movements. The research involves 

making personal installations, video tapes, TV 

programmes, and curating exhibitions along with 

an extensive output of published theoretical 

writing on critical media and internet culture. 



2008 ‘(un)realtime media’, in lovink, G. and niederer, S. 

(eds), video vortex reader: responses to youtube, 

amsterdam: institute of network cultures. 

2008 ‘alternative tv platforms and breakout section on 

tactical media’, in alternative media handbook, 

routledge. 

2007 co-editor and contributor (un)common Ground: 

creative encounters across Sectors and disciplines, 

book industry Services. 

2006 ‘learning the right lessons’, in mute: Journal of 

culture and Politics after the internet. 


2007 Faith in exposure, dutch media institute, amsterdam. 

1996–04 initiated and led the next 5 minutes, a series of 

international conferences and exhibitions on electronic 

communications and new social movements 

Selected ScreeninGS 

2005 museum of modern art, Shanghai, china. 

2004 SeSc for Finde/autolabs festival, Sao Paulo, brazil. 


2007 arts council uk + virtuel Platform: funding for (un) 

common Ground. 

1994–03 mondrian Foundation, Soros Foundation, 

amsterdam Fonds voor de kunst: funding for the next 5 

minutes. 

recent PaPerS and PreSentationS 

2009 key-note speaker at lcaSe conference for english 

arts council officers. 

2007 Presentation on coolmedia hot talk Show, de balie 

center for culture and Politics, amsterdam. 

2007 two lectures on the new cultures of ‘real-time data 

bases’, dutch electronic arts Festival, rotterdam, the 

netherlands. 

2007 organisation and moderation seminar on ‘(un)common 

Ground’, enter unknown territories Festival, cambridge. 

2007 ‘diminishing Freedom’ at engaging the impossible, 

central Saint martins, london.

Garcia david 

book about (un)common Ground, research project initiated by david Garcia 

63

64 

newman avis 

ProFeSSor 

Biography Avis Newman is a Professor at 

Wimbledon. Her work has featured in numerous 

national and international solo and group 

exhibitions. 

Her canvas works, objects and works on paper 

show a longstanding preoccupation with notions 

of origin, memory and representation as 

embodied in the initial moment of tracing and 

with the genesis of the mark. To this end drawing 

has figured as a central concern. Since 2002 

Avis Newman has also been concerned with 

contextualising ideas in contemporary drawing 

practice beyond her individual practice. She 

selected the exhibition of works from Tate 

Collection – The Stage of Drawing: Gesture and Art 

shown at The Drawing Center New York, Tate 

Liverpool, The Museum of Contemporary Art, 

Sydney and Tate Britain (2003–04) and organised 

the symposium on Drawing Theory and Practice – 

With a Single Mark … (2006) held at Tate Britain. 

A co-editor of the journals on artists’ practice, 

Documents published by RvBK (2004–08) Newman 

is also editor of Notes (2005–) the series of 

publications documenting artists’ residencies in 

The Centre for Drawing Project Space, UAL. 

Her work is in private and public collections, 

notably The Arts Council England, the British 

Council, Hirshorn Museum Washington, The 

Metropolitan Museum New York, and Tate UK. 



2004 ten artists, group exhibition by tutors and ma students 

from wimbledon School of art (m.k.c. iulionis national 

musuem of art, kaunas lithuathia). 

2003 descriptions, solo exhibition, museum of contemporary 

art, Sydney, australia. 

2003 in Good Form – recent Sculpture from arts council 

collection, longside Gallery, yorkshire Sculpture Park. 

2002 back Space, matt’s Gallery, london 


editor, notes, published by the centre for drawing ual. 

curatorial ProJectS 

2006 with a Single mark, exhibition and symposium 

at tate britain. 


2004 women artists in the tate collection, tate Gallery 

Publications. 

2003 vampire in the text narratives of contemporary art – 

collected essays by Jean Fisher, institute of international 

visual arts, london. 

2003 the Stage of drawing: Gesture and act – texts by 

norman bryson, Jean Fisher, michael newman, avis 

newman and catherine de Segher, tate Gallery 

Publications. 

2003 drawing Papers: the stage of drawing: Gesture and 

act, the drawing centre, new york 2003.

newman avis 

avis newman, aporia xv, acrylic on linen, two part work – left: 25 × 25 cm, right: 25 × 25 cm, 2007–08 

avis newman, aporia x, acrylic on linen, two part work – left: 25 × 25 cm, right: 30 × 30 cm, 2007–08 

65


avis newman, elsewhere, wood, glass, paper, two part work – left (framed drawing): 

88 × 68 cm, right (ladder): 180 × 40 cm

Pickwoad nicholas 

ProFeSSor 

Biography Nicholas Pickwoad is a Professor at 

Camberwell. He has a doctorate in English 

Literature from Oxford University. He trained 

with Roger Powell, and ran his own workshop 

from 1977 to 1989. He has been Adviser on book 

conservation to the National Trust of Great 

Britain from 1978, and was Editor of the Paper 

Conservator. He taught book conservation at 

Columbia University Library School in New York 

from 1989 to 1992 and was Chief Conservator in 

the Harvard University Library from 1992 to 1995. 

He is now project leader of the St Catherine’s 

Monastery Library Project based at the University 

of the Arts London and is Director of the Ligatus 

research unit, which is dedicated to the history 

of bookbinding. He gave the 2008 Panizzi Lectures 

at the British Library, was awarded the 2009 

Plowden medal for Conservation and is a Fellow 

of the IIC and of the Society of Antiquaries. 

He also teaches courses in the UK, Europe and 

America on the history of European bookbinding 

in the era of the hand printing press, and has 

published widely on the subject. 

researCh statement My major current 

research centres on the construction of a 

mulit-lingual glossary of bookbinding terms, 

to be illustrated with photographs, drawings 

and diagrams. My colleague Athanasios 

Velios and I have used an XML database to hold 

the terms and their definitions, in which 

the hierarchies are based on the structure of 

a book, allowing the user to navigate the 

structure to find terms which are not known 

to them. The glossary will also serve as the basis 

for a descriptive process which will allow 

consistent records of historic bindings to be 

compiled by different researchers in different 

languages, which can then contribute to an 

international database to provide source 

material for further analytical research into the 

development of bookbinding. 

I am also continuing in my research into the 

history of bookbinding, with particular reference 

to structure and materials and how a more 

complete understanding of bookbinding can 

contribute to a better understanding of the 

culture of the book. 

A new project is aimed at encouraging the 

incorporation of descriptions of bookbindings 

into mainstream bibliography, as interest 

in copy-specific cataloguing grows. Our work 

on the glossary is an essential pre-requisite 

for such a development, and discussions 

are now underway to hold a conference in late 

2010 to initiate international debate on the 

subject. 



2009 chapter on bookbinding in michael, F., 

Suarez, S.J. and turner, m.l. (eds) the cambridge 

history of the book in britain, vol.5, 1695–1830. 

2008 ‘how Greek is Greek: western european imitations 

of Greek-style bindings’, vivlioamphiastis 3, 

tsironis, n. (ed.), athens: hellenic Society for 

bookbinding & the instititute for byzantine research. 

2005 ‘research Projects on historic bookbindings’, 

in atti della conferanza internazionale: Scelte 

e Strategie per la conservazione della memoria, 

dobbiaco, bolzano: archivio di Stato. 

2004 ‘recording medieval bindings – the role of the 

conservation survey, with reference to work 

currently under way in the library of the monastery 

of St catherine on mount Sinai’, in colloque reliure, 

Paris: cnrS. 

2004 ‘the history of the False raised band’, in against 

the law, myers (ed.), harris and mandelbrote, 

london: british library and oak knoll books. 

2004 ‘the condition survey of the manuscripts in the 

monastery of St catherine on mount Sinai’, 

Paper conservator, vol.28. 

67



2005 Principal invesigator, an english/Greek terminology 

for the structures and materials of byzantine and Greek 

bookbinding, ahrc research Standard Grant. 

key ProFeSSional PoSitionS 

1978– advisor to the national trust on book conservation. 

1977– member of the iic until its incorporation into icon. 

detail of a pink-stained, alum-tawed, 

split-strap, double sewing support on an 

italian binding on a venice edition of 

1493. the conventional straight, packed 

sewing has the addition of a small 

horizontal stitch between the two 

elements of the double support at its 

left end, intended to prevent the sewing 

thread falling off the cut end of the 

support. this tells us that the binder 

originally intended that the book should 

have a limp parchment cover and that 

the current cover of slotted, second-use 

parchment over boards is a later 

replacement.

Politowicz kay 

ProFeSSor 

Biography Kay Politowicz is Professor of Textile 

Design, co-founder and Project Director for 

the Textiles Environment Design (TED) research 

group at Chelsea, with a direct interest in all 

contemporary interpretations of the subject. She 

has been instrumental in establishing the post 

of Research Fellow and the TED Resource. This 

has contributed significantly to the development 

of the thinking in sustainable textile design. 

Previously, as Course Director for BA (Hons) 

Textile Design at Chelsea, Politowicz has 

developed a course known for a high-level of 

achievement in specialist material processes and 

for an environmental focus to curriculum 

developments within the subject. Design contexts 

have been introduced for students to see 

environmental problems as opportunities for 

innovative design thinking in processes, 

products and systems. 

Professor Politowicz has been instrumental in 

hosting Texprint: First View exhibition annually 

at Chelsea since 2005. In collaboration with 

Texprint in 2008, Chelsea hosted a seminar on 

sustainability involving speakers and delegates 

from industry and education. 

She is an experienced external examiner and 

international juror for competitions within the 

subject and is currently acting as Associate 

Director of the Textile Futures research group 

(TFRG) and is an active member of the UK 

Association of Fashion and Textiles Courses. 

Professor Politowicz has supervised three PhD 

students to successful completion: 

researCh statement In leading the TED 

research cluster, I have encouraged staff, students 

and graduate designers to collaborate in the 

development of projects and events which 

propose to explore the potential for fabrics 

to change or define an environment. In 

my research I explore fabrics which work from 

principles inherent in life-cycle analysis 

of a product for interior and exterior spaces. 

Developments include the ability of fabrics 

to carry light technologies as well as 

colour and pattern, often transferring low/ 

medium- technologies from other 

industries into textile design and manufacture. 

Experiments include the use of long-life, 

synthetic fabrics with natural dyes and 

mechanical patterning to produce prototypes 

for installation. The use of industrially 

produced ‘multiples’ and ‘flat-pack’ production 

has enabled fabrics to be used as temporary 

and reusable environments. 

In Particle Fabrics exhibition, Milan (2002), 

part of Signatures of the Invisible (Sci-Art 

exhibitions in four European centres), I explored 

the potential of fabric to change and define an 

environment. In Artists at Work, Museo del 

Tessuto Prato, Italy (2003), and Ever and Again: 

Rethinking Recycled Textiles (2007), I proposed 

the production and re-use of ‘flat-pack lanterns’ 

using magnets as fixings. This ongoing 

development of products currently includes 

the use of electro-luminescent print paste to 

produce glowing patterns in interior spaces. 

Current projects include Creative Connections 

(2009) a TED group project linking small 

craft businesses in India with digital print 

production to increase and sustain markets 

for their fabrics. Cultural Collage (2009) is 

a research project exploring cultural collaboration 

in three locations, UK (University 

69


of the Arts London/Chelsea College of Art and 

Design), Australia (University of Technology, 

Sydney) and Chile (Universidad Diego Portales, 

Santiago). 


Selected conFerence contributionS 

2009 ‘testing the theories with design’ (co-author rebecca 

earley) at Sustainability and enterprise, creating 

competitive advantage conference (beijing and 

Shanghai), hiFe Funded. in collaboration with the 

economist intelligence unit. 

2009 ‘Shared Strategies’, at Foresight – mapping the 

territory conference, liverpool, uk, Fashion textiles 

association. 

academic contributionS 

2008 Phd external examiner, uppsala, Sweden, 

2008 ma external examiner, Swedish School of textiles, 

boras, Sweden. 

2008 external assessor for revalidation of ma constructed 

textiles course and ma Printed textiles, royal college of 

art. 

2007 istanbul textile and apparel exporters’ association 

istanbul. invited international jury member turkish 

textile award for innovation. 

2001–05 ba (hons) textile design external examiner, 

manchester metropolitan university.

Politowicz kay 

71

72 

Scrivener Stephen 

ProFeSSor 

Biography Professor Stephen Scrivener is 

Director of Doctoral Programme at C-C-W. 

He studied Fine Art at undergraduate and master 

levels, the latter at the Slade School of Fine 

Art, University College London, where he began 

to use the computer as a means of art production. 

Subsequent to the Slade, Scrivener completed 

his PhD in a computer science department and, 

thereafter, worked as a lecturer and researcher 

in various university computer science 

depart ments. Up to 1992, his research focused 

on the design and development of interactive 

systems for artists and designers and on 

how such systems are used. During this period 

he undertook many funded design-focused 

research projects (supported by grants in excess 

of £2 million) almost all of which involved 

academic, commercial and industrial collaboration. 

Scrivener moved back into an art and 

design department in 1992, and since then his 

research has focused on the theory and practice 

of what is often called practice-based research. 

During his research career, he has completed 

funded research projects; produced over 

175 research outcomes; supervised more than 

30 research degree students to completion 

and examined over 40. Scrivener has participated 

in the research context in a range of functions; 

he is the founding editor of the International 

Journal of CoDesign, published by Taylor 

and Francis and an elected fellow of the Design 

Research Society. 

researCh statement My research is concerned 

with the theory and practice of practice-based 

research, which has been reported in a series of 

journal and book chapters. My thinking on this 

topic is, perhaps, distinguished from other 

authors in the field in that it progresses from the 

proposition that the activities of art, design, etc., 

already contain the activity of research, 

understood as that function which expands each 

field’s potential and relevance. 


Selected Funded ProJectS 

2005–07 consolidating understanding and experience of 

practice-based research, funded by ahrc under the 

Small Grant Scheme, designed to advance current 

understanding of theory and experience of practice-based 

research in art and design. 

2005–07 managing breakdowns in international distributed 

design projects, funded by the british academy and the 

national Science council (nSc) grants scheme to support 

joint projects between british and taiwan scholars, in the 

fields of the humanities and social sciences. 

2000–04 unite – ubiquitous and integrated teamwork 

environment, an international project funded by the ec 

under the 1st programme in collaboration with ibm 

(France and israel), Gmd, FGh, adetti, Penta Scope, 

and teSci. the project was shortlisted for the 1st prize. 


2009 ‘the roles of art and design process and object in 

research’, in reflections and connections: on the 

relationship between creative production and academic 

research, helsinki: university of art and design helsinki. 

2009 ‘connections: a personal history of computer art 

making from 1971 to 1981’, in white heat cold logic: 

british computer art 1960–1980, massachusetts, uSa 

and london: mit Press. 

2007 ‘visual art practice reconsidered: transformational 

practice and the academy’, in the art of research, 

university of art and design helsinki: helsinki. 

2004 ‘the practical implications of applying a theory of 

practice based research: a case study’, in working Papers 

in design, #3. 

2003 ‘the design implications of user selection between 

communication resources’, in digital creativity, 14 (4). 

2003 ‘managing breakdowns in international distributed 

design Projects’, in human behaviour in design: 

individuals, teams, tools, heidelberg. 

2002 ‘the art object does not embody a form of knowledge’, 

in working Papers in design, #2. 

2002 ‘characterising creative-production doctoral projects in 

art and design’, in international Journal of design 

Sciences and technology, 10 ( 2, 10(2). 

keynote PreSentationS 

2009 ‘applying for a Practice-led research Project’, at 

practice-led research seminar, ahrc, london.

Scrivener Stephen 

2009 ‘research by design’, at new norwegian architecture 

Policy conference, norsk Form, oslo. 

2009 ‘articulated transformational Practice’, at new Forms 

of doctorate: an eSrc Seminar, london knowledge lab, 

london. 

2009 ‘the roles of art and design in research’, at the 

danish doctoral design School conference, copenhagen. 

2008 art and research: how?, academy of arts, tallinn, 

estonia. 

2007 ‘Practice-based research’, at the art of research, 

university of art and design, helsinki. 

2005 ‘Practice-based research’, at international Practicebased 

research conference, university of art and design, 

helsinki, Finland. 

key committee and Panel memberShiPS 

2009–10 chair of Peer review Panel b, ahrc. 

2009 appointed as external member, kunsthogskolen: bergen 

national academy of the arts, research committee. 

2007 member, ahrc Peer review college. 

2007–08 advisory board, the third international conference 

on design computing and cognition. 

2006 commissioning board member, ePSrc/ahrc, Phase 2 

of the design for 21st century programme. 

2005–06 chair, ePSrc Peer review Panel. 

2005 invited by ePSrc to be a member of the advisory 

Group for the funding programme entitled design for the 

21st century. 

2005 Selected member of Sub-panel 63, rae. 

2004–05 member, ePSrc/ahrb design for 21st century 

Programme Panel, Phase 1. 

2003–04 member, ePSrc Peer review Panel. 

2002–03 invited member, ePSrc, working group to 

develop a funding programme entitled, design for 

the 21st century. 

2001–05 member, ahrb Peer review Panel 2: visual arts 

and media. 


2007– member of editorial board, leonardo transactions. 

2005– editor in chief, international Journal of co-design, 

taylor and Francis. 

73 

Stephen a.r. Scrivener, the machine, perspex, light-emitting 

diodes, switches and electronic components, 50 × 26 cm, 1974


Stephen a.r. Scrivener, the machine – view of the electronics stack comprising hard-wired 

homeostatic system, electronic components, component stack and wiring, 1974

Slee richard 

ProFeSSor 

Biography Born in 1946 in Cumbria, Richard 

Slee is a Professor at Camberwell. He attended 

Carlisle College of Art and graduated in Ceramics 

from the Central School of Art and Design in 

1970. His early career consisted of part-time 

teaching and practice as a studio ceramicist; he 

was awarded an MA in Design (Degree by Project) 

from the Royal College of Art in 1988. 

Slee started teaching at Camberwell in 1990, and 

was made a Professor in 1992. 

Throughout his career Richard has built an 

international presence in the USA, Canada, Korea, 

Japan, Australia and Europe. His work is 

represented in numerous collections world-wide. 

researCh statement Specialising in ceramics 

as the medium, my interests and practice has 

evolved from Studio Pottery to a contemporary 

craft debate with reference to the current 

positioning of material specialisations in visual 

creativity. Recent developments in my output 

have seen the use of both the found and 

non-ceramic materials in works questioning past 

loyalties towards a single material. 

A formal exploration of the creative use of fired 

enamels onto metal has been recently undertaken, 

to expand my personal craft knowledge. 

The resulting works challenge both the place 

and purpose of individually produced and crafted 

works. 


Selected recent Solo exhibitionS 

2008 richard Slee, recent works, barrett marsden Gallery, 

london. 

2007 richard Slee, Garth clark Gallery, new york. 

2006 richard Slee at barrett marsden, barrett marsden 


2004 richard Slee, barrett marsden Gallery, london. 

2004 Panoramas, the Pier arts centre, Stromness, orkney, 

Scotland 

2003 Panorama, tate St ives and ruthin crafts centre, 

wales (catalogue) 

Selected recent GrouP exhibitionS 

2009 our objects, Glasgow School of art and u.k. tour. 

2008 masterpieces in ceramics from the victoria & albert 

museum, the korea Foundation cultural center, Seoul 

and hetjens museum, dussldorf (catalogue) 

2007 end, danish museum of art and design, copenhagen 

and bomuldsfabrikken kunsthall, oslo (catalogue). 

2007 making and meaning, object Gallery, Sydney, 

australia. 

2007 cult Fiction, curated by hayward Gallery (touring, 

catalogue). 

2005 trans-ceramic art, world ceramic center, icheon, 

korea (catalogue). 

2004 voodoo Shit, hales Gallery, london. 

2004 Strange relationship, keith talent Gallery, london. 

2004 a Secret history of clay, tate liverpool (catalogue). 

2003 Good bad taste, keith talent Gallery, london. 

2003 hypercrafting, monash university, melbourne, 

australia (catalogue). 

2002 the uncanny room, Pittshanger manor, ealing and 

bowes museum, co durham (catalogue). 

richard Slee, whistle blower, ceramic, rubber, 

silicone, 45 × 50 × 30 cm, 2006 

75


richard Slee, trowel, ceramic, enameled metal, textile, 10 × 40 × 20 cm, 2006

ichard Slee, 

hook, ceramic, 

30 × 20 × 20 cm, 

2007 

Slee richard 

77

78 

wainwriGht chris 

ProFeSSor 

Biography Professor Chris Wainwright is the 

Head of Camberwell, Chelsea and Wimbledon 

Colleges. He is also President of The European 

League of Institutes of the Arts (ELIA), an 

organisation representing over 350 European 

Higher Arts Institutions, and former Chair of the 

National Association for Fine Art Education 

in the UK. He is currently a member of The Tate 

Britain Council and a board member of Cape 

Farewell, an artist run organisation that promotes 

a cultural response to climate change. 

Chris Wainwright is also an active professional 

artist and curator working in photography and 

video whose recent exhibitions include The Moons 

of Higashiyama at Kodai-ji Temple, Kyoto, Japan 

and Trauma at the Culturcentrum in Brugge, 

Belgium. His work is currently being shown as 

part of the UK touring exhibition Fleeting Arcadias 

– Thirty Years of British Landscape Photography from 

the Arts Council Collection. He is currently cocurating 

Unfold, a Cape Farewell international 

touring exhibition of work by artists addressing 

climate change. 

His time based work Capital has been shown at 

File 2002 and Channel 14 at File 2005 in Sao Paulo, 

Brazil and video projections at the Champ Libre 

Festival of Electronic Arts, Montreal, Canada, 

2004 and 2005. Channel 14 was also selected for 

the Media and Architecture Biennial, Graz, 

Austria, 2005. 

Chris Wainwright’s photographic work is held 

in many major collections including the Victoria 

& Albert Museum, London; The Arts Council of 

England; Bibliotheque Nationale, Paris; the 

Polaroid Corporation, Boston, USA, and Unilever, 

London. 

researCh statement I work primarily 

through photography and video as a means of 

addressing issues related to the effects of light, 

both natural and artificial, in urban and remote 

environments. The work is informed by a direct 

response to place and is often the result of an 

intervention, a temporary action or construction 

made for the camera as a unique form of witness 

for recording light. I am interested in the cause 

and effect relationship between urban and 

unpopulated spaces and the way light is deployed 

as a form of illumination, communication, 

invasion and pollution. Overall I have a concern 

for representing the issues and effects of environmental 

change though my direct presence, 

actions and journeys, always undertaken in darkness, 

and the way this can be part of a strategy 

of image making that does not rely on journalistic 

or didactic approaches but has its roots more in 

the pictorial traditions of painting. 



2009 cape Farewell exhibition: art and climate change, as 

part of the Salisbury Festival (group exhibition). 

2008 the moons of higashiyama, kodai-ji temple, kyoto, 

Japan (group exhibition, with catalogue). 

2007 between land and Sea, box 38, ostende, belgium. 

2007 t/raum(a)68, hallen van de het belfort, brugge, 

belgium (group exhibition, with catalogue). 

2005 channel 14, video screening, biennale of media and 

architecture, Graz, austria (catalogue). 

2005 channel 14, video external site projection, national 

library, montréal, canada (catalogue). 

2005 channel 14, video screening, File 2005, media arts 

Festival, Sao Paulo, brazil. 

2004 Strange things, the aine art museum, tornio, lapland, 

Finland (group exhibition with catalogue). 

2004 wainwright + bickerstaff, the drawing room, london 

(catalogue). 

2004 channel 14, 6th manifestation internationale vidéo et 

art Électronique, montréal, canada.


here comes the Sun, Semaphore performance with robyn hitchcock, 

off the northwest of Greenland, 2008 

(photos by n. Gallagher) 

79


chris wainwright, red ice, colour photograph, disko bay, Greenland, 2008 


2009 ‘unfold’, cape Farewell exhibition on climate change, 

co-curator, exhibition planned to tour uk, europe and 

worldwide, beginning in vienna in april 2010. 

PublicationS 

2009 co-editor with Professor James Powell obe, 

universities for modern renaissance, university of 

Salford. 

2008 author, Strategy Paper on research in art and design, 

european league of institutes of the arts. 

key PoSitionS and memberShiPS 

2009–11 board member, cape Farewell. 

2008–09 member of the Sensuous knowledge editorial 

board for research publications, national academy of 

art, bergen, norway. 

2009 chair of Jury, european commission photography 

competition for the year of culture and creativity. 

2008–10 President, the european league of institutes of 

the arts (elia) 

2008–10 member, tate britain council. 

2008 chair of Jury, european commission photography 

competition cultures on my Street in the year of 

intercultural dialogue.


chris wainwright, white ice, colour photograph, disko bay, Greenland 2008 

81

82 

watanabe toshio 

ProFeSSor 

Biography Professor Toshio Watanabe is 

Director of the Transnational Art, Identity and 

Nation (TrAIN) research centre. He studied at the 

Universities of Sophia, Tokyo, Courtauld Institute 

of Art, London and in Basel, where he completed 

his PhD. He taught at the City of Birmingham 

Polytechnic, where he ran the MA in History of 

Art and Design course. At Chelsea since 1986, 

initially as the Head of Art History and later 

became Head of Research. 

Professor Watanabe is an art historian, studying 

mostly the period 1850–1950, and is interested in 

exploring how art of different places and culture 

intermingle and affect each other. He has worked 

in the field of Anglo-Japanese relationships in art, 

and publications in this field include High 

Victorian Japonisme (1991, winner of the Prize of 

the Society for the Study of Japonisme), Japan and 

Britain: An Aesthetic Dialogue 1850–1930 (1991, 

Japanese edition 1992, co-edited), and Ruskin in 

Japan 1890–1940: Nature for art, art for life, (1997, 

winner of 1998 Japan Festival Prize and of 1999 

Gesner Gold Award). 

Currently President of the Japan Art History 

Forum (USA) and Chair of International Jury of 

Künstlerhaus Schloss Balmoral, Bad Ems, 

Germany. He was Chair of the Association of Art 

Historians (1998–2001) and member of the Tate 

Britain Council (2002–05). 

researCh statement The main focus of my 

current research is transnational interactions of 

art with an emphasis on the issue of modernity 

and identity. I am particularly interested in 

exploring this, not just in bilateral, but in 

multilateral relationships, such as those between, 

Japan, China, Taiwan, India, Britain or the USA 

within the time span between 1850 and 1950. 

My interest in transnational relationships covers 

all media, but particularly architecture, garden 

design, watercolour painting, photography 

and popular graphics. Particular emphasis is put 

on the consumption of these art forms locally 

and globally. 

Projects being undertaken include following 

themes: the theory of modern landscape 

and imperial architecture in Japan, 1880s–1940s; 

history and reception of modern Japanese 

garden; construction of Japanese Art History; 

British Japonisme. 

I am Principal Investigator for the AHRC- 

funded research project ‘Forgotten Japonisme: 

Taste for Japanese Art in Britain and the USA, 

1920s–1950s’ (2004–10), which explores 

a previously neglected period in the study of 

Western attitudes towards Japanese art from 

the 1920s to the 1950s. I am also a member 

of a Japanese government-funded research 

project ‘Comparative Study of Historio graphy 

of Japanese Art History in Japan, Britain 

and the USA in the Context of the Appreciation 

of Yamato-e’, which is based at University 

of Kagoshima in collaboration with TrAIN 

research centre. I was also the Principal 

Investigator for the AHRC-funded research 

project ‘Modernity and Identity in Art: India, 

Japan and Mexico 1860s–1940s’ (2001–05), 

a collaborative project with University of 

Sussex. 


Selected PublicationS (Selection From 

laSt Four yearS) 

2008 ‘modernism: Self and other represented in (or by 

incorporating) other’s style’, in exhibition catalogue 

Self and other: Portraits from asia and europe, 

national museum of ethnology, osaka.

watanabe toshio 

2007 ‘vicissitudes of the value of englishness in 19th century 

hamburg: nikolaikirche, the town hall and the 

waterworks’, in arte & ensaios, special issue: ‘transnational 

correspondence’, PPGav-uFrJ, rio de Janeiro, 

brazil, #14. 

2007 ‘Japanese landscape Painting and taiwan: modernity, 

colonialism and national identity’, in refracted colonial 

modernity: taiwanese art and design, university of 

hawaii Press. 

2007 ‘the british design world during the stay of the 

Japanese designer moriya nobuo’, in moriya nobuo, 

Sakura city museum of art, Japan. 

2006 ‘Japanese imperial architecture: From thomas roger 

Smith to itô chûta’, in conant, ellen P. (ed.) challenging 

Past and Present: the metamorphosis of nineteenthcentury 

Japanese art, university of hawaii Press. 


PaPerS (Selection From laSt three yearS) 

2009 ‘the historiography of the Study of american and 

british Japonisme.’, symposium on american and british 

Japonisme, bunka women’s college, tokyo. organised 

jointly by the Society for the Study of Japonisme and 

train research centre. 

2008 ‘modern urban environment and identity: the case of 

hamburg.’, lecture to aoyama Gakuen university students. 

2008 ‘the creativity of modern urban Parks: tokyo and 

london.’ Public lecture given at the aoyama Gakuin 

university, tokyo as part of the Sensing cities project. 

2007 ‘the modern Japanese Garden: a transnational art 

form?’, oxford brookes university. 

2007 ‘Japanese landscape Painting and taiwan: modernity, 

colonialism and national identity’, book launch 

symposium in taipei. 

2007 ‘the reception history of tradition: the case of kyoto 

Gardens’, at symposium on kyoto craft, SoaS. 

2007 ‘loss of historicity as identity: the theory of Japanese 

Garden by Josiah conder’, at traditional arts and crafts 

in the 21st century: reconsidering the Future from an 

international Perspective, international research centre 

for Japanese Studies. 

2007 ‘clamoring at the Gates or tearing down the walls: 

dealing with canonicity’, paper for roundtable discussion 

at college art association annual conference, new york. 

2007 ‘how could north american scholars improve art 

history teaching in Japan?’ for roundtable discussion at 

teaching Japanese art: new challenges in the 21st 

century, organised by Japan art history Forum at the 

association of asian Studies at boston. 

2007 ‘china and the historiography of Sculpture in meiji 

Japan’, at the Status of and market for chinese 

Sculpture in the late Qing, at the duke university, 

durham, north carolina. 

2007 ‘Forgotten Japonisme: investigating Japanese taste in 

britain and the uSa 1920s–1950s’, at reconsidering 

Japonisme, symposium in tokyo organised by the Society 

for the Study of Japonisme. 

2007 ‘how did Japanese art become a museum object? 

aesthetic value, national identity and historicity’, at 

museums today: contemporary challenges, university of 

Sao Paulo. 

83 


2008–09 anglo-Japanese daiwa Foundation, Sensing cities 

project with aoyama Gakuin univerisity (Pi) and bartlett 

School of architecture, ucl. 

2008–11 ministry of culture and Science, Japan: 

‘comparative Study of historiography of Japanese art 

history in Japan, britain and the uSa in the context of 

the appreciation of yamato-e’, project submitted by 

Professor miho Shimohara, university of kagoshima (Pi) 

in collaboration with train research centre. 

2007–10 ahrc grant: ‘Forgotten Japonisme’, major three 

year research project. 

2001–04 ahrb grant: modernity and identity in art: india, 

Japan and mexico 1860s–1940s. 

memberShiP oF ProFeSSional bodieS and 

other external activitieS 

2009– chair of Jury, künstlerhaus Schloss balmoral, bad 

ems, Germany 

2005–09 member, rae sub-panel 64. 

2005– President, Japan art history Forum (uSa). 

2003– member of the ahrc diaspora, migration and 

identity Steering Group. 

2003– membre titulaire and acting chair, british committee 

of comité international d’histoire de l’art. 

2002–05 member, tate britain council. 

2002– Jury member, chino kaori memorial essay prize 

(JahF, uSa). 

2002–08 reviewer, J. Paul Getty postdoctoral fellowship in 

the history of art and the humanities. 

1999–01 member, board of historians of british art (uSa). 

1998–01 chair, association of art historians. 


2003– member of the editorial advisory board, design 

history Japan (Japan). 

2002– member of advisory board, Journal of design history. 

2002– member of editorial advisory board, 19th century art 

worldwide. 

book referee: curzon Press, blackwell, university of 

california Press, university of hawaii Press.

84 

woolley Janet 

ProFeSSor, Pathway leader 

Biography Professor Janet Woolley is a Pathway 

Leader in MA Visual Arts (Illustration) at 

Camberwell. She is an award-winning illustrator 

who has worked for numer ous publications 

worldwide. She studied Art and Design at 

Brighton College of Art (1970–73), and graduated 

from the Royal College of Art, London in 1976. 

After exhibiting for several years after graduation, 

including at the Royal Academy and taking part 

in the European Illustration exhibition, Woolley’s 

work changed direction in 1990 when she started 

experimenting in montage and introducing 

elements of photography in her illustrations. She 

was amongst the first artists to use photographic 

imagery, and her practice was instrumental in 

promoting the art form to reach the wide level of 

acceptance it holds today. 

In 2000, Woolley switched from photomontage 

executed by hand to working digitally. Rich in 

detail and visual narrative, her artworks are 

multi-layered, often fusing dark and intense 

moods with humorous elements and a sense of 

playfulness. 

A freelance illustrator for over 30 years, Woolley 

has taught in higher education since 1986. Her 

work has been shown in numerous international 

exhibitions, including The United Nations, New 

York, The Museum of American Illustration, 

Rhode Island and The Royal Academy, London. 

Well-known for her work as long term contributor 

to BBC’s Radio Times magazine, Woolley is 

regularly commissioned in the UK and USA in 

the areas of editorial and advertising illustration; 

notable past clients have included MTV, BBC, 

Illustrated London News, Sunday Telegraph, Ogilvy 

and Mather, Bloomberg Magazine, Sports Illustrated, 

Fitch and Fitch, Walt Disney (The Art Of Mickey 

Mouse), Rolling Stone Magazine, Elle Magazine, 

Walker Books, Penguin USA, Guardian, Observer, 

and the Sunday Times. 

Following the events of 9/11, Woolley was invited 

to partake in Prevailing the Human Spirit, a 

memorial exhibition organised by the Society of 

Illustrators and the Museum of American 

Illustration (2002). The exhibition was held at the 

United Nations building in New York. She has 

recently won the Gold award for Promotional Art 

by the Association of Illustration, UK (2006). 

researCh statement My recent projects have 

included a commission for Playboy magazine, a 

part-painted and part-collaged image to illustrate 

the degeneration of the city of Detroit, Communication 

Arts, New York – a panel judged illustration 

book (2005–06), a public poster exhibit 

for ‘Earthday Canada’ environmental project in 

Toronto, Canada (2006), as well as a cover 

illustration for an UCL Los Angeles University 

Publication (2006) and a series of illustrations for 

UCLA Medical Research into Diabetes. In 2009 

I completed of a number of murals for the ‘Royal 

Institute of Science’ new extension. 


Selected recent exhibitionS 

2006 images, mall Gallery, london. 

2003 a historical look, the museum of york county, north 

carolina. 

2003 urbanities, camberwell college of arts, london and 

Stackhouse Gallery, new york. 

2002 Prevailing the human Spirit, Society of illustrators, 

ny and united nations, ny. 

ProFeSSional recoGnition 

Patron of the association of illustration. 

member of the Society of illustration, new york. 

external examiner at liverpool college of art. 

2006 Gold award for Promotional art, association of 

illustrators, uk. 

2002 adit award of distinction – creativity 31.

woolley Janet 

Janet woolley, People wall, 270 × 330 cm, collage, paint and digital 

the Queen at royal institute opening 

85


Janet woolley, ariel, 30 × 57 cm, collage, paint and digital

woolley Janet 

Janet woolley, monkey nuts, 25 × 33 cm, collage, paint and digital 

87

88 

aSbury michael 

reader, Pathway leader 

Biography Dr Michael Asbury is a Reader in 

the history and theory of art and Pathway Leader 

for MA Visual Arts (Transnational Art) at 

Camberwell. He is also a core member of the 

research centre for Transnational Art, Identity and 

Nation (TrAIN). Michael has published widely 

and has curated several exhibitions. He was 

associate-curator for the ‘Rio de Janeiro 1950– 

1964’ section of ‘Century City: Art and Culture in 

the Modern Metropolis’, the inaugural temporary 

exhibition at Tate Modern in 2001. More recently, 

he curated solo exhibitions by artists Antonio 

Manuel, Detanico + Lain, Anna Maria Maiolino, 

Sutapa Biswas, José Patricio, Cao Guimarães as 

well as other group exhibitions. He acted as 

curatorial consultant for the Espaço Aberto / Espaço 

Fechado: Sites for Sculpture in Modern Brazil 

exhibition at the Henry Moore Institute, 2006. His 

writing on modern and contemporary art in Brazil 

has been published by: Arte e Ensaios, Art History 

Journal, Art Nexus, Dardo, Documenta 12, Editora 

Perspectiva, Henry Moore Institute, inIVA/MIT, 

Liverpool University Press, Parasol Unit, Pharos 

Centre for Contemporary Art, Rodopi, Tate 

Publishers, Third Text, Untitled, among others. 

researCh statement What is the relevance of 

contemporary art practice for an art historian and 

how can art history inform critical and curatorial 

engagement in contemporary art? These are 

questions that my work over the last decade has 

attempted to respond to. I find myself in a 

paradoxical situation in which as a specialist in a 

subject area seemingly limited by nationality, my 

drive has been to question essentialist readings of 

Brazilian culture with a knowledge of the 

specificity of context, its relation to the wider 

history of art and its undeniable transnationality. 

My writing has thus drawn on revisionist, 

historiographic and sometimes comparative 

methods while my curatorial practice questions 

the mechanisms through which certain artists 

reach international notoriety through a subtle 

exotic gaze which at once emphasises the relation 

to the local while emptying such practices of any 

significant contextual ambivalence in terms of 

their relation to both the local and the global. 

There is no longer such an urgency in arguing the 

lack of visibility of art emerging from outside 

Euro-America, instead there is a need to engage in 

processes in which that visibility is given complexity 

and consequently a greater significance. 



2009 catalogue text in cao Guimarães: memória e outros 

esquecimentos, Galeria nara roesler, Sao Paulo. 

2009 ‘introduction’ and ‘order and Subjectivity’, in asbury, 

m., keheyan, G. (eds) anna maria maiolino, Pharos 

Publishers, nicosia. 

2008 ‘Parisienses no brasil, brasileiros em Paris: relatos de 

viagem e modernismos nacionais’, in concinnitas, #12, 

uerJ, rio de Janeiro. 

2008 ‘antonio manuel’, in art nexus, #68, v. 7, miami. 

2008 ‘catalogue text’, in José Patricio: Painting by numbers 

/ Pinturas numerosas, Galeria nara roesler, Sao Paulo. 

2008 ‘made in brazil’, in the art history Journal, #1, 

vol.31, February, london, pp.103–113. 

2008 ‘o hélio não tinha Ginga / hélio couldn’t dance’, in 

braga, P. (ed.) Fios Soltos do experimental: a arte de 

hélio oiticica, editora Perspectiva, Sao Paulo, pp.27–65. 

2007 ‘Shadows / Sombras’, in revista arte & ensaios, (guest 

editor, Special train edition), PPGav-eba, uFrJ, rio 

de Janeiro, pp.52–67. 

2007 ‘the Perversions of Practice’ in the intricate Journey: 

berlin, colombia, berlin, nGbk, berlin, pp.94–101. 

2007 ‘this other eden: hélio oiticica and Subterranean 

london 1969’, in brett, G., Figueiredo, l. (eds) oiticica 

in london, tate Publishers, london, pp.35–39. 

2007 ‘detanico & lain after utopia: art in the age of 

information technology’, in asbury, m., keheyan, G. (eds) 

detanico & lain: after utopia, Pharos centre for 

contemporary art, nicosia, pp.62–88. 

2007 ‘ricardo basbaum: ‘would you like to participate in an 

artistic experience?’, in documenta 12, taschen Gmbh, 

köln, kassel, pp.220–221. 

2006 ‘anna maria maiolino’, in dardo, #3, Santiago de 

compostela & rio de Janeiro, pp.152–173.


antonio manuel’s Studio, rio de Janeiro, april 2008 

89


2006 ‘antonio manuel: occupations/discoveries’ in asbury, 

m., keheyan, G. (eds) antonio manuel, the Pharos 

centre for contemporary art, nicosia, pp.20–51. 

2006 ‘the bienal de São Paulo: between nationalism and 

internationalism’, in curtis, P., Feeke, S. (eds) espaço 

aberto/ espaço Fechado: Sites for Sculpture in modern 

brazil, the henry moore institute: leeds, pp.72–83. 

2005 ‘neoconcretism and minimalism: on Ferreira Gullar’s 

theory of the non-object’, in mercer, k. (ed.) 

‘cosmopolitan modernisms’, iniva/mit, london, 

pp.168–189. 

2005 ‘changing Perceptions of national identity in brazilian 

art and architecture’, in hernandez, F. (ed.) 

transculturation: cities, space and architecture in latin 

america, amsterdam & atlanta, pp.56–71. 

2004 ‘marvellous Perversions’, in unbound: installations by 

Seven artists from rio de Janeiro, exhibition catalogue, 

Parasol unit, london, 2004, pp.24–40. 

2003 ‘tracing hybrid Strategies in brazilian modern art’, in 

harris, J. (ed.) critical Perspectives on contemporary 

Painting, critical Forum Series 6, tate Gallery liverpool 

and university of liverpool Press, 2003, pp.139–170. 

rosangela rennó’s Studio, 

rio de Janeiro, april 2008



2009 rosangela rennó, the Pharos centre for contemporary 

art, nicosia. 

2008 José Patricio, the Pharos centre for contemporary 

art, nicosia. 

2008 Pharos = 10, Group exhibition, nicosia municipal 

arts centre / Pierides Foundation, nicosia. 

2008 Sutapa biswas, nara roesler Gallery, Sao Paulo. 

2008 cildo meireles ‘occasion’, rootstein hopkins Parade 

Ground, chelsea college of art and design, london. 

2008 cao Guimarães, the Pharos centre for contemporary 

art, nicosia. 

2007 anna maria maiolino, the Pharos centre for 

contemporary art, nicosia. 

2006 detanico & lain: after utopia, the Pharos centre for 

contemporary art, nicosia. 

2005 antonio manuel, the Pharos centre for contemporary 

art, nicosia. 

recent conFerence PaPerS 

2009 ‘mário Pedrosa and herbert read: Paradigms on art 

and Political ideologies in the mid-20th century’ at 

meeting margins, university of essex. 

2008 Panel discussion ‘cildo meireles’ retrospective at tate 

modern’, chelsea college of art and design. (convener, 

speaker and chair). 

2008 ‘a arte brasileira no exterior, i congresso do brasil na 

europa’, universidad de Salamanca. 

2008 ‘Some thoughts on a historiography of recent 

exhibitions of brazilian art in the uk and beyond’, 

university of essex, departement art history. 

2008 ‘From constructivism to Pop’, 32nd international 

congress of art historians (ciha), university of 

melbourne. 

2008 ‘the bienal de São Paulo between the national and 

the international’, 28th bienal de São Paulo conference, 

Parque ibirapuera, Sao Paulo. (convenor, speaker 

and chair). 

2007 ‘espaços de circulação para novas Propostas 

artísticas’, museu de ciencias naturais in conjunction 

with the exhibition anteciparte 2007, lisbon. 

2007 ‘the transnationality of concrete art’, transnational 

correspondence, tate modern. (convenor and speaker). 

2007 ‘exhibiting oiticica: an issue of conceptual 

conservation’, at hélio oiticica: the body of colour, 

tate modern (speaker and chair). 

2006 ‘art in brazil from the 1950s to the 1960s’, at 

accompanying the exhibition ‘espaço aberto / espaço 

Fechado: sites for sculpture in modern brazil’, henry 

moore institute, leeds. 


2009 meeting margins in partnership with university of 

essex, ahrc research Standard Grant. 

2003 award to research and propose an exhibition and 

conference on current brazilian artists’ Groups, arts 

council of Great britain. 

2003 award to research contemporary artists in five 

brazilian cities (Sao Paulo, rio de Janeiro, belo 

horizonte, brasilia and recife), and report findings 

at a conference in conjunction with a bigger Splash: 

at from the tate Gallery collection, held in Sao Paulo, 

funded by the british council. 

editorial and reFereeinG PoSitionS 

2010 Peer review college member, ahrc. 

2008 international editorial board, risco, Journal of 

architecture and design, Faculty of architecture, 

university of Sao Paulo (uSP), São carlos. 

2008 (Founding member) international editorial board, 

world art Journal, university of east anglia, norwich. 

2008 exhibition advisory committee, Gallery 32, 

brazilian embassy. 

2007 Selection committee, train / Gasworks annual 

residency programme. 

2003 member of the editorial advisory board, concinnitas 

Journal, published by the instituto de artes da 

universidade estadual do rio de Janeiro (uerJ). 

2002 editor, visual arts Section, brazil network (nGo). 

91

92 

baSeman Jordan 

reader 

Biography Jordan Baseman is a Reader 

in Time Based Media at Wimbledon. He is also 

a Lecturer at the Royal College of Art Sculpture 

School. Baseman received a BFA from Tyler 

School of Art, Philadelphia, Pennsylvania and 

an MA from Goldsmith’s College, University of 

London. He has a long history of carrying out 

projects in collaboration with various public 

institutions. These have included fellowships, 

residencies and commis sions for: Arts Council 

England, Papworth Hospital (Heart and Lung 

Transplant Unit) Cambridge, The Science 

Museum, London, Dundee Contemporary Arts, 

Grizedale Arts, London Arts, Camden Arts 

Centre, The Serpentine Gallery, Collective Gallery 

Edinburgh, Book Works, National Sculpture 

Factory, Cork, Ireland, British School at Rome, the 

Wellcome Trust, London, ArtSway, Monash 

University, Melbourne Australia, University of 

Tasmania, Hobart, Australia, the Photographers’ 

Gallery London, Matt’s Gallery London 

and The London School of Hygiene and Tropical 

Medicine. He has received grants from Arts 

Council England, the Arts Humanities Research 

Council, the British Council, the Henry Moore 

Foundation, the Wellcome Trust, and London 

Arts Board. 

(www.jordanbaseman.co.uk) 

researCh statement I have been observing, 

filming, recording and working with people 

in order to create highly edited, semi-narrative, 

documentary-like films. 

My current work investigates ideas around 

contemporary portraiture, narrative structure, 

the manipulation of recorded information, 

animation, authenticity and documentary. 

The foundations of my film projects centre 

on events and experiences that are rooted 

in the unpredictable nature of the interview/ 

observation processes. The narratives within the 

films are culled from many hours of intimate 

interviews. 

My practice focuses primarily on belief systems, 

the motivation of the human spirit and lived 

experience. I am seeking to create meaning 

through the collection of recorded material, 

which is then edited and turned into constructed 

narratives that result in single screen films. 

Through the interview, recording, editing and 

creative processes, my work seeks to deal with 

ideas of portraiture, identity, hope, aspiration, 

belief, success and failure. 



2009 blue movie, matt’s Gallery london. 

2009 a hypnotic effect, collective Gallery edinburgh. 

2008–09 dark is the night, artSway, new Forest; 

Photographers’ Gallery london. 

2008 the documentary imperative, manchester museum. 

2008 inside man, aberystwyth arts centre, 

university of wales. 

2007 (i can’t Get no) Satisfaction, hatton Gallery, 

newcastle. 

2007 nature’s Great experiment, wellcome collection, 

london. 

2007 tape 1 tape 2, monash university Gallery, 


2006 luv is gonna get you someday, maus habitos, 

Porto, Portugal. 

2006 Sunday morning, Site Gallery, Sheffield. 

2005 don’t stop ‘til you get enough, matt’s Gallery, london. 

2004 July the twelfth 1984, kaliman Gallery, Sydney, 

australia. 

2003 city of angels, triskel arts centre, cork, ireland. 

2003 eF103 603, university of dundee, dundee, Scotland. 

2002 1 + 1 = 1 / under the blood, royal Pump rooms, 

leamington Spa. 

2002 under the blood / 1 + 1 = 1, wysing arts, cambridge. 


2009 animate Projects, bFi, london. 

2009 53rd venice biennale, artSway’s new Forest Pavilion. 

2009 talk Show/Speakeasy, ica, london.

aSeman Jordan 

Jordan baseman, the dandy doctrine, 16 mm film, 2009 

Jordan baseman, dark is the night, 16 mm film, 2009 

93



2008 alchemy, manchester museum, university of 

manchester. 

2007 Grain, isle of Grain, kent. 

2007 heart, wellcome trust, london. 

2007 the Sun always Shines on the righteous, Purescreen, 

manchester. 

2007 alchemy artists, manchester museum, manchester. 

2006 open video library, zaim, yokahama, Japan. 

2006 hospitality, accademia tedesca, villa massimo, rome. 

2006 no Place like home, beacon art Project, lincolnshire. 

2006 arcade, acava Studios, london. 

2006 vox Pop, Star and Shadow cinema, newcastle. 

2006 contingency Plan, c.a.S.t., tasmania, hobart, 

australia. 

2006 et tu tribute, embassy rooms, edinburgh. 

2005 variety, de la warr Pavilion, bexhill on Sea. 

2005 crossing borders, berwick Film Festival. 

2005 our Surroundings, dundee contemporary arts, dundee. 

2005 Size matters, yorkshire Sculpture Park, yorkshire. 

2004 Six thousand chairs, crystal Palace, london. 

2004 bad behavior, yorkshire Sculpture Park, yorkshire. 

2004 aGora, transition Gallery, london. 

2004 Feast of Silenus, embassy rooms, edinburgh. 

2004 island art Film/video Festival, uGc cinema, 

docklands, london. 

2004 wonderful/visions of the near Future, arnolfini, 

bristol. 

2004 volume, moving Pictures, St Georges, bristol. 

2004 brides of march, embassy rooms, edinburgh. 

2003 la mostra, british School at rome, rome. 

2003 radio radio, the international 3, manchester. 

2003 animality, blue oyster Gallery, auckland, n.z. 

2003 the human zoo, university of newcastle, newcastle. 

2003 Further up in the air, linosa close, liverpool. 

Selected commiSSionS and awardS 

2009 blue movie, Grants for the arts, arts council england, 

henry moore Foundation and matt’s Gallery london. 

2009 commonwealth Suite, a hypnotic effect, collective, 

edinburgh. 

2008–09 dark is the night, artSway and Photographers’ 

Gallery commission. 

2008 Stop.watch., animate Projects and rSa film 

commission.

aSeman Jordan 


2007 Perfume disco coma, widnes waterfront commission, 

widnes. 

2007 (i can’t Get no) Satisfaction, hatton Gallery, univ. of 

newcastle. 

2007 tape 1 tape 2, monash university Gallery, melbourne, 

australia. 

2006–08 alchemy Fellowship, manchester museum, 

university of manchester. 

2006 i hate boston, boston hates me, beacon art Project, 

lincolnshire. 

2006 nature’s Great experiment, research and development 

award, wellcome trust and arts humanities research 

council. 

2006 visiting artist Fellowship, university of tasmania, 

australia. 

2006 Sunday morning, Site Gallery, Sheffield. 

2005 don’t stop ’til you get enough, matt’s Gallery, london. 

2005 Grants to artists, british council, london. 

2005 life all over it and more than religion, dca, dundee, 

Scotland. 

2004 visiting artist Fellowship, monash univ., melbourne, 

australia. 

2003 henry moore Sculpture Fellow, british School at rome. 

2003 cactaSia!, eden Project, cornwall. 

2003 city of angels, national Sculpture Factory, cork, 

ireland. 

2002 how to hover, Further up in the air, liverpool. 

2002 1 + 1 = 1 and under the blood, Papworth hospital, 

cambridge. 

2002 thriller, london School of hygiene and tropical 

medicine. 


2009 dark is the night, Photographers’ Gallery london. 

2008 4 Films / Jordan baseman, manchester museum, 

university of manchester. 

2008 Sunday morning, Site Gallery Sheffield. 

95

96 

biSwaS Sutapa 

reader 

Biography Sutapa Biswas is a Reader in Fine Art 

and Cultural Studies at Chelsea, and an established 

international artist whose poignant films and 

poetic artworks have been shown in museums 

and art galleries worldwide. Biswas works in a 

wide range of media including installation, film, 

video, drawing and painting. Since the mid 1990s 

Biswas has been interested in exploring themes of 

time, space, gender and subjectivity and their 

relationship to art history, and other systems of 

knowledge and power. 

Sutapa Biswas studied Fine Art and Art History at 

the University of Leeds until 1985, at the Slade 

School of Art (1988–90), and at the Royal College 

of Art between 1996–98. Venues in which Biswas’ 

works have been exhibited, include: Tate Modern, 

London, UK, Art Gallery of Ontario, Toronto, 

Canada, Angel Row Gallery, Nottingham, UK, and 

the Douglas F. Cooley Memorial Art Gallery, Reed 

College, Portland, Oregon, USA, Nara Roesler 

Gallery, Sao Paulo, Brazil, 6th Havana Biennale, 

Cuba (1997), Yale University Art Gallery, USA, 

Whitechapel Art Gallery, UK, Institute of 

Contemporary Art (ICA), London, UK, Arnolfini, 

UK, Gallery of Modern Art, Queensland, Australia, 

Henie Onstad Kunstsenter, Oslo, Norway, Pinta 

Art Fair, New York, USA, ARCO, Madrid, Spain, 

Gallery Espace, Delhi, India. 

researCh statement Soon after graduating in 

the mid 1980s, my works were exhibited at the 

ICA, London, UK, as part of a seminal exhibition 

titled, The Thin Black Line (1985), and thereafter in, 

State of The Art: Ideas and Images in the 1980s, 

curated by Sandy Nairne in collaboration with 

Channel 4 television (UK). 

I have always worked in a wide range of media 

including drawing and painting, film and video, 

performance and installation. My works are 

conceptual, and from the beginning have been 

informed by an interest and background in 

art history, and equally, have been absorbed with 

formal and aesthetic concerns which I have 

explored within the context of the image. My 

work reflects on the personal space, and through 

this, I articulate a ‘new’ space, in which the viewer 

becomes immersed in a seemingly familiar, 

yet often disturbing narrative. For example, in 

my seminal film installation, Birdsong, 2004 

(16mm film transferred onto DVD, dual screen 

projection), shot in a recreated Victorian parlour, 

I researched the work of 17th century British 

landscape artists, in particular the painting Lord 

Holland and Lord Albermarle Shooting at Goodwood 

(c.1759) by George Stubbs, as well as various 

19th century literature and poetry. The film work 

is a tableau, based on a conversation between 

myself and my son, who at eighteen months of 

age, expressed his desire to have a horse living in 

his living room, and is also the central character 

within the film. The resulting film installation 

explores the relationship between mother 

and child, but works on multiple levels of almost 

Bunuelesque visual poetry. As the curator and 

critic Guy Brett writes: ‘Biswas’ recent works is a 

device for awakening memory, gaining a foothold 

in the flux of time and conveying an insight into 

human lives’. 

In another film, Magnesium Bird (2004), set in the 

‘safe haven’ of the walled gardens of Harewood 

House, Yorkshire, UK, the set is transformed into 

an almost apocalyptic scene, where, in torrential 

weather conditions, birds sculpted out of magnesium 

ribbon dotted about the landscape, appear 

to burst spontaneously into flames whilst in the 

background, a group of children (my son, nieces 

and nephews) continue to play. ‘Magnesium Bird’

iSwaS Sutapa 

is an homage to my father who died in 2000, and 

whose last conversation with me, just before he 

died, was in reference to Marcel Proust’s writing 

about birds. That the artist J.M.W. Turner stayed 

at Harewood House, and during his visit, created 

a series of bird drawings, or that the wealth of 

the Harewood Estate was founded on the exploits 

of the slave trade, and the first foundations of 

the landscaped gardens laid in 1759, the same year 

that Stubbs painted his work Lord Holland and 

Lord Albermarle Shooting at Goodwood, is no coincidence. 

Rather, these things becomes part of the 

taxonomy of the evocative and haunting imagery. 


97 


2008 Sutapa biswas, nara roesler Gallery, Sao Paolo, 

brazil. 

2006 Sutapa biswas – recent works, the douglas F. cooley 

memorial art Gallery, reed college, Portland, oregon, 

uSa (touring exhibition). 

2006 magnesium dreams, Pica (Portland institute of 

contemporary art), tba:2006, Portland oregon, uSa. 

2004 Sutapa biswas recent works, café Gallery Projects, 

london, uk (touring exhibition), also showing at angel 

row Gallery, nottingham and leeds city art Gallery, uk. 

2004 Sutapa biswas, recent works exhibited in situ with 

drawings by Joseph turner and edward lear, harewood 

house, yorkshire, uk. 

2000 Sutapa biswas, untitled (woman in blue, weeping), art 

Gallery of ontario, toronto, canada (video installation). 


2009 arco madrid, madrid, Spain. 

2008 States of the nation: art and Politics in britain in the 

1980s, city art Gallery, leeds, uk. 

Sutapa biswas, birdsong, 16 mm film transferred onto dvd, dual-screen projection, colour, 2004


Sutapa biswas, birdsong, 16 mm film transferred onto dvd, dual-screen projection, colour, 2004 

2008 moving beyond the Frame, Gallery espace, 

delhi, india. 

2008 exhibition of a series of drawings at Pinta art Fair, 

metropolitan Pavilion and altman building, 

new york, uSa. 

2006 melbourne international arts Festival 2006, australia. 

2006 elizabeth leach, aqua art, miami basel, uSa. 

2006 elizabeth leach, Portland, oregon, uSa. 

2006 migratory aesthetics, curated by Griselda Pollock and 

Judith tucker, Parkinson Gallery, university of leeds, 

leeds, uk. 

2005 3rd clerkenwell Film and video Festival, curated by 

emma mahony, hayward Gallery, london, uk. 

2005 launch of contemporary Patrons, royal academy of 

arts, london, uk. 

2002–03 From tarzan to rambo, tate modern, london, uk. 

Selected contributionS to edited 

PublicationS 

2007 ‘books, boats and birds – Sutapa biswas’ in arte & 

ensaios, special issue: ‘transnational correspondence’, 

PPGav-uFrJ, rio de Janeiro, brazil, #14. 

2007 in e-mail conversation with m. roth, ‘Sutapa biswas: 

Flights of memory / rites of Passage / assertions of 

culture’, in the back room – an anthology, clear cut 

Press: Portland, oregon. 

2005 in e-mail conversation with m. roth, ‘Sutapa biswas: 


culture’, in changing States: contemporary art and 

ideas in an era of Globalisation, iniva. 

2004 in e-mail conversation with m. roth: ‘Sutapa biswas: 


culture’ and artists statement: ‘to kill two birds with 

one Stone’, in campell, S. (ed.) Sutapa biswas, iniva,

iSwaS Sutapa 

london and douglas F. cooley memorial art Gallery, 

reed college, oregon, uSa. 

PubliShed monoGraPh 

2004 Sutapa biswas, an anthology of essays on the work 

of the artist Sutapa biswas, published by the institute 

of international visual arts (iniva), london, and the 

douglas F. cooley memorial art Gallery, reed college, 

uSa. 

Selected lectureS and conFerence 

activitieS 

2009 key lecture for visual cultures of british india, yale 

centre for british art in collaboration with yale 

university, new haven, uSa. 

2008 Selected co-convenor and panel organiser: ‘monuments 

and memorials’ at location: museum, academy, Studio – 

34th annual art historians conference, tate britain and 

tate modern, london, uk. 

2007 Symposium Panel respondent at transnational 

correspondence, tate modern, london, uk. 

2007 Panel Speaker at ‘open market: investigating the 

international. a Professional development day for visual 

artists’, bristol arts consortium & arts matrix ltd, 

bristol, uk. 

2006 ‘God, heroes and monsters’, at Portland institute of 

contemporary art, Portland, oregon, uSa. 

2004 ‘the owl and the Pussycat: the concept of travel’, part 

of a series of lectures, victoria & albert museum, 

london, uk, october 2004 – april 2005. 

Selected awardS and commiSSionS 

2008–09 commissioned permanent artwork for the new art 

exchange, nottingham, uk. 

2008 london artists Film and video award (laFva). 

2004 ahrc small grant: Pre-production, research and 

development, making a new film installation. 

2004 arts council of england, recipient of national touring 

awards in support of exhibition, ‘birdsong’, cocommissioned 

by iniva, london, and Film and video 

umbrella, london, uk. 

2002 ahrc research leave: developing works towards solo 

exhibition in collaboration with iniva. 

2001 ahrc small grant: Film and video production for 

purposes of installation at the gallery SPace, new york, 

uSa. 


2009 leading residency Programme Poetry and Practice, 

balmoral, bad ems, Germany, as part of train research 

centre, university of the arts london. 

99

100 

collinS Jane 

reader 

Biography Jane Collins is a Reader in Theatre 

and Contextual Studies Co-ordinator for Theatre 

at Wimbledon. She is a writer, Director and 

theatre maker who works all over the UK and 

internationally. She has a long association with 

the continent of Africa and for The Royal Court, 

with the National Theatre of Uganda, she codirected 

Maama Nalukalala N_dezze Lye (Mother 

Courage and her Children) by Bertolt Brecht, 

with a Ugandan cast in Kampala. This production, 

which was the first official translation of a play 

by Brecht into an African language, toured 

internationally. Her AHRC funded research into 

‘performing identities’ resulted in a new work 

for the stage The Story of the African Choir which 

was developed in conjunction with the Market 

Theatre Laboratory in Johannesburg and 

performed at the Grahamstown International 

Festival in 2007. Throughout 2008–09 her 

research has mainly been engaged with co- 

editing Theatre and Performance Design: a reader 

in scenography, to be published by Routledge 

in January 2010. This book, with over 52 texts 

is the first of its kind in this field. In addition, 

in 2009, her practice based performance 

research included re-staging the award winning 

Ten Thousand Several Doors for the Brighton 

International Festival. 

researCh statement My research continues 

to focus on performance and practise based 

research methodologies which re-engage the 

‘theatrical’ as a means of interrogating 

contemporary society. In 2007 I wrote an article 

for Studies in Theatre and Performance which 

examined the efficacy of performance as a means 

of investigating the construction of post 

colonial identities through the ‘staging’ of an 

African ‘past’. One aspect of this research 

was an analysis of the scenographic framing of 

these performances for western audiences. 

Among the many outcomes of this process was 

the identification of a dearth of material 

with which to interrogate critically the visual 

aspects of performance in particular and 

the scenographic in general. Concurrent with 

this, in my role as Contextual Studies Coordinator 

for Theatre at Wimbledon, I was also 

concerned that students of theatre design 

did not have a com prehensive body of accessible 

written texts to help them situate their own 

work and analyse the work of others. Theatre and 

Performance Design, a reader in scenography 

aims to fulfil this need and has been the primary 

focus of my research over the past eighteen 

months. 


Selected PerFormanceS 

2007 ‘the Story of the african choir,’ Grahamstown 

international Festival, South africa. 

2007 devised and directed ten thousand Several doors 

the brighton international Festival. best Production 

of the Festival Joint winner. 

2005–06 wrote and directed the voyages of harriet herring 

inG bank. 

2005–06 wrote and directed workshop performance: 

the Story of the african choir, the market theatre, 

Johannesburg, South africa. 

2005–06 ‘bright angel Point’ Selected Finalist the croydon 

warehouse international Playwriting Festival. 

2005 bright angel Point shortlist finalist; the croydon 

warehouse international Playwriting Festival. 

2003–04 completed draft bright angel Point. reading at the 

royal Shakespeare company, ‘the other Place’, lawrence 

boswell (dir). 

2003–04 Shakespeare’s dream on Sea, performance 

development project including workshop production, 

northbrook theatre, w. Sussex. 


2009 international Federation of theatre research, lisbon. 

2007 rhodes university Summer School Guest Speaker. 

2007 royal national theatre ‘agendas’ Seminar with 

John carni. 

2007 national maritime museum / tate Gallery travel and 

narrative (paper).

collinS Jane 

award winning ‘ten thousand Several doors’ re-staged for the brighton Festival may 2009 (photo by m. andrews) 

2006 theatre and Performance research association 

taPra (paper). 

2006 the international Federation of theatre research 

helsinki (paper). 


2007 ahrc Practice-led and applied research grant 

2005 ahrb Small Grant in the creative and 

Performing arts. 


2007 ‘“umuntu, ngumuntu, ngabantu”: the Story 

of the african choir’ in Studies in theatre and 

Performance, 27.2. 


2007 ‘Stages calling’ ruphin coudyzer, thirty years of Stage 

Photography, the market theatre Johannesburg; royal 

national theatre (co-curated by michael Pavelka) 

101

102 

croSS david 


Biography David Cross is a Reader and Pathway 

Leader for MA Visual Arts (Graphic Design) at 

Camberwell. Since setting up the MA in 2004, 

David has challenged the notion of professional 

neutrality in graphic design, encouraging instead 

an ethos that is interdisciplinary, research 

oriented and socially engaged. 

As an artist, David works with Matthew Cornford. 

Cornford & Cross began collaborating while 

studying at Saint Martin’s School of Art in 1987, 

and graduated from the Royal College of Art in 

1991. Their work responds to the problems that 

arise out of particular contexts or situations. 

Accordingly, each of their projects has been 

different in both form and content. 

They have carried out an Arts Council 

residency at the London School of Economics, 

and a British Council residency at Vitamin 

in Guangzhou, China. In Europe, they have 

exhibited in Bologna, Rome, and Stockholm; in 

the USA in San Fran cisco, Philadelphia and 

New York. In London their work has been 

exhibited at the Camden Arts Centre, the ICA, 

Photographers’ Gallery and South London 

Gallery. They have just completed a book about 

their practice, published by Black Dog. 

researCh statement As an artist with 

Cornford & Cross I make critical and satirical art 

projects that connect with civic participatory 

processes. Moving between photography, sculptural 

installation and performance, our projects 

engage with the physical, temporal and social 

aspects of particular places. The involvement of 

different groups of people is essential: the projects 

aim to stimulate discussion on issues of public 

concern, including consumerism, resource 

scarcity and territorial conflict. 

Since my student days at St Martins School of Art, 

I have studied the relationship between visual 

culture and the contested ideal of ‘sustainable 

development’; recently, my focus has been on the 

compound issues of fossil energy dependency 

and climate breakdown. My focus is now shifting 

to the obstacles to collective behavioural change, 

and stimulating the transition to a post-carbon 

society. 

In addition to producing aesthetic experiences, 

I maintain that a key function of contemporary 

art is to test concepts, assumptions and boundaries. 

In public debate, I aim to focus attention on 

the ‘instrumental’ potential of contemporary art – 

not as a channel for didactic messages, but as a 

space for dialectical propositions. In making such 

propositions, my aim is to set up encounters 

of difference, so as to stimulate the kind of debate 

that is at the heart of active social agency. 

The ecological crisis consists of issues that have 

been overlooked because ‘nature’ has been 

pictured as a timeless backdrop to social experience, 

and ‘the environment’ is only visible 

when it is quantified and priced. To challenge this 

paradigm, I advocate an interdisciplinary 

approach that connects the latest developments 

in scientific and economic understanding with 

the creative, critical and self-reflexive tendencies 

of contemporary art. 

Work I have undertaken in this field includes a set 

of lectures and a communication art and design 

project titled ‘Endgame: energy crisis, climate 

damage and visual culture’ delivered at the Royal 

College of Art, and featured on the RSA Arts and 

Ecology website. For ‘Extreme Pasts, Absolute 

Presents’ at Kings College, I gave a presentation 

on place and culture in terms of the obliteration

croSS david 

of landscape through industrial consumerism. 

For ‘Grassroots’ with Hayley Newman and Edwina 

Fitzpatrick, I examined the tensions between 

measurement and value in ecological footprinting 

exercises. For ‘Difference Exchange’ at Chelsea, 

I gave a presentation on the literal and symbolic 

potential of water, as a universal primary need 

and also as a metaphor for moving beyond objects 

and commodities towards systems and flows. 



2008–09 the lion and the unicorn, wolverhampton art 

Gallery. 

2007 cornford & cross, aspex Gallery, Portsmouth. 

2005–06 where is the work?, northern Gallery for 

contemporary art, Sunderland. 

2003 the lost horizon, london School of economics. 

2002 unrealised: Projects 1997–2002, nylon Gallery, 

london. 


2008–09 Give me Shelter, attingham Park, Shropshire. 

2005 tra monti, rome, italy. 

2004 values, 11th biennial of Pancevo, Serbia and 

montenegro. 

2004 Perfectly Placed, South london Gallery, london. 

2003 a Period eye, norwich castle museum and art Gallery. 


2009 cornford & cross, black dog Publishing, london. 

2004 ‘inside outside.’, in third text, vol.18, issue 6. 

2004 ‘unrealised: Projects 1997–2002.’, in miles, m. (ed.) 

new Practices/new Pedagogies, routledge london and 

new york. 

103


cornford & cross, 

the lion and the unicorn, 

maximum safe load of coal on gallery 

floor, emergency lighting, 

wolverhampton art Gallery, 

2008 

it is generally accepted that the 

industrial revolution originated in 

the west midlands. this revolution 

was at first powered by renewable 

energy. but it was coal that provided 

the phenomenal power that allowed 

people to overcome many physical 

limitations of the body and the 

environment. the result has been the 

most radical transformation of our 

economy, society and culture since 

history began. 

the physical form of this installation, 

the lion and the unicorn, was an 

expression of limitations: the maximum 

safe load on the gallery floor is 

14000kg, and the minimum legal width 

for a safety access way is 1500mm. 

by extension, the work pointed to a 

limitation so large that it seems beyond 

our frame of vision: the limit to 

industrial growth. this is determined by 

the earth’s ‘ecological carrying 

capacity’, the ability of all living 

systems to absorb the waste products of 

human activity. the earth’s climate 

system is being destroyed by burning 

fossil fuels, including the coal used to 

generate the electricity that powers the 

gallery lights. 

we switched off the lights. 

‘the lion and the unicorn: Socialism 

and the english Genius’, is an essay 

written by George orwell during the 

Second world war. in it, orwell tested 

the limits of social obligation in terms 

of the bonds between people of different 

classes, and the continuity of collective 

identity between generations.


the once and Future king, 

well, ‘crowned’ by razor wire, 

the walled Garden, attingham Park, 

Shropshire, 

2008 

croSS david 

in the landscaped grounds of a stately 

home is an imposing brick wall, which 

forms an enclosure. Passing through 

a heavy wooden door, visitors enter 

a great square of level ground laid to 

lawn and intersected by two broad 

paths. where the paths meet in the 

centre of the garden is a large circular 

pool, brick lined and capped with stone 

but left open to the sky. next to 

this lies buried the original well, which 

has recently been the subject of an 

archaeological dig. the conjunction of 

an enclosed garden, crossed paths and 

water source is rich with significance 

from classical mythology to christian 

faith. the barrier, route and source that 

define the space are also open to 

psychoanalytic interpretation. 

this place was once the kitchen garden, 

which in its heyday would have provided 

enough food to support the whole 

household. For many decades, it stood 

as an empty, unproductive space while 

fossil fuel, industrial agriculture, and 

supermarkets dominated global food 

production. with the coming energy 

crisis, food and water look set to 

become desperately scarce. if so, this 

fertile ground, which is sheltered from 

the elements and secured against 

intruders, would become a vital and 

contested territory. it is now being put 

back into production through a 

volunteer-led national trust initiative. 

over the well, we made a distorted 

globe of security wire. the galvanized 

105 

‘tangle wire’ that forms the surface of 

the globe was specially developed by a 

local firm to safely keep protestors out 

of the grounds of the Gleneagles hotel 

during the 2005 G8 summit. beneath 

the surface, the structure of the globe 

is a lethal bundle of stainless steel razor 

wire. like a thorn bush in a fable, 

the loops and swirls of shimmering steel 

may draw the viewer near, yet hold 

them off in an encounter that is at once 

threatening and fascinating. 

‘the once and Future king’ is a novel 

by t.h. white, which retells the myth of 

king arthur interwoven with elements 

of 20th century warfare, psychoanalysis 

and time travel. the narrative opens 

with a youthful clarity of style and 

character, gradually rises in complexity 

and paradox, before closing with 

a portrayal of subtle insight hard won 

against a backdrop of epic change.



trance nation, 

helicopter and searchlight over summer 

solstice gathering, 

willen Park, milton keynes, england, 

2007 

the year 2007 marked the 40th 

anniversary of the founding of milton 

keynes, a town remarkable for its 

combination of urban grid and utopian 

origins. Sleek corporate head offices 

line broad avenues whose names evoke 

the sites or mystic rituals of ancient 

religion: Silbury, avebury, 

midsummer... 

at midnight on the eve of the summer 

Solstice, a helicopter crew prepared 

for a flight along a path marking 

a great logarithmic spiral across the 

darkened countryside. as the helicopter 

approached the centre of the spiral, 

its searchlight fixed on a gathering of 

druids and new age revellers 

celebrating under the night sky as they 

awaited the new day. 

two visions arose: the surveillance of 

the video camera on board the helicopter, 

counterpointed by the souvenir 

images captured by the revellers. 

Poised between antonio Gramsci’s 

‘pessimism of the intellect and optimism 

of the will’, trance nation offered a 

fleeting moment of reflection, as the 

power of the searchlight was met by the 

sunlight. 

the title ‘trance nation’ refers to a 

genre of dance music marketed by the 

global media conglomerate ministry of 

Sound, owned and controlled by James 

Palumbo, son of property developer 

lord Peter Palumbo.


words are not enough, 

temporary peace garden over 

abandoned nuclear bunker, 

Peckham, london, 2007 

croSS david 

in a vacant plot of land, a shaft drops 

down to a concrete stairway leading 

into deep shadows. a corridor gives 

onto a network of flooded chambers 

echoing with the sound of dripping 

water. Power generators, an air 

filtration system, communications 

equipment, maps, charts and plans 

are still in place, but obsolete, decaying 

and forgotten in total darkness. 

built to accommodate council staff in 

the event of a nuclear attack, the 

bunker is a relic of the cold war era. 

to recall the time when the world 

lived in the shadow of a nuclear 

holocaust, and to question the idea 

of closure, we created a temporary 

peace garden over the entrance to the 

bunker. the installation consisted 

simply of three trees: one palm, one 

laurel and one olive. 

clearly, the attempt to symbolise 

a universal, lasting peace would be 

to deny reality and court failure. 

instead, words are not enough posited 

a contingent, temporary peace, 

located on the threshold of credibility. 

we kept the trees in their plastic 

transit tubs to emphasize their status 

as commodities, to heighten the 

temporary, contingent nature of the 

garden and of the peace it symbolised. 

if words are not enough, then action 

is required. but what action, and by 

whom? 

107 

the project aimed to leave visitors with 

a restless sense of insecurity or 

dissatisfaction, a mental space in which 

the desire for change might grow. 

as Southwark council was unable to 

accommodate the debate, we staged 

a public address on the site of the 

installation opposite the town hall. 

Paul Gough gave a speech on memorial 

representations of peace and victory, 

and explored the history of peace 

gardens in relation to the Greater 

london council during the cold war.



the abolition of work, 

artists’ fee and budget in one-penny 

coins laid on gallery floor, 

exchange Gallery, Penzance, 2007 

cornwall is known for its history of 

copper and tin mining, while newlyn 

is famous for its 19th century copper 

industry. the principal use of copper 

is as a conduit for water, electricity 

and telecommunications. this gallery 

was once a telephone exchange. 

today’s one-penny coin was initially 

minted in 1971 from bronze, an alloy 

of copper and tin. it is the lowest 

denomination of currency in the uk, 

barely worth picking up. world copper 

prices rose, making the ‘use value’ of 

the metal greater than the exchange 

value of the coin. by 1992 the penny 

was worth less than its weight in 

copper, and the royal mint substituted 

copper-plated steel for the bronze, thus 

debasing the coin. 

we asked for our artists’ fee and 

production budget to be delivered to 

the gallery in one-penny coins. with 

a team of helpers, we arranged the 

coins by hand – heads or tails upward 

as they came – to cover the gallery 

floor. the labour of laying the coins did 

not transform their material properties. 

after the exhibition they were returned 

into circulation. 

though the multitude of coins 

does not represent anything, it may 

resemble many things. the installation 

can be viewed as a vast puzzle, 

but one in which all the pieces are the 

same. the ‘picture’ formed invites 

reflection on the definition of labour 

and the paradoxes of the relationship 

between art, money, and the value 

of time. 

‘the abolition of work’ is the title of 

an anarchist pamphlet by bob black, 

who asserts that ‘work is the source of 

nearly all the misery in the world’ and 

advocates the complete transformation 

of society towards a way of life based 

on play. 

For helping us lay the coins, we would 

like to thank the following people: 

Simon Jaques and lucy willow, with 

claire benson, rachel campbell, cat 

Gibbard, James Green, rebecca 

Griffiths, ann haycock, louise hodges, 

yasmin ineson, liam, victoria lingard, 

Jess morgan, Jane Pitts, Judi rea, Jo 

tabone, karen thomas and blair todd.


why read the classics?, 

Film and television lamp reflector on 

marble statue, 

Gardens of the villa aldobrandini, 

rome, italy, 2005 

croSS david 

why read the classics? was a work 

made around a damaged classical 

statue in a public garden in rome. 

a flight of stone steps leads past 

ancient ruins up to palms and orange 

trees, in a garden, which, though 

beautiful, is rather used and neglected. 

near the top of the stairway stands the 

marble figure of a young woman, on a 

pedestal in an alcove in the wall. like 

so many statues in rome, the head of 

the figure is missing. 

behind the space of the figure’s head 

we positioned a golden disc, of the kind 

used to reflect light onto the faces of 

actors and models. opposite the figure 

we installed a powerful film and 

television lamp, so its beam of light 

reflected from the disc to create an aura 

or halo. 

visitors to the garden found their gaze 

drawn by the dazzling light to the iconic 

vision of a mythical woman. yet the 

lamp and electric cables that produced 

the light anchored the scene firmly in 

the moment. 

in why read the classics? three 

conceptions of femininity converge: 

the classical goddess, the christian 

madonna, and the contemporary 

film star. depending on the viewer’s 

position, their co-existence in the 

present may focus the mind on issues 

around the representation of gender, 

or contemplation of the wider 

ideological mechanisms of belief. 

109 

why read the classics? refers to a book 

of the same title by the great writer 

italo calvino, who answers his own 

question with characteristic erudition, 

insight and wit.

110 

earley rebecca 

reader 

Biography Becky Earley is a Reader in Textiles 

Environment Design (TED) at Chelsea. She is a 

textile designer and academic whose research 

work and creative practice has sought to develop 

strategies for the designer to employ in seeking 

to reduce the environmental impact of textile 

production, consumption and disposal. 

In 2006 she curated the Crafts Council’s Well 

Fashioned: Eco Style in the UK exhibition and this 

year chaired the selection panel for the Jerwood 

Contemporary Makers 2009 exhibition, which 

addressed the theme of ‘impact’. She is currently 

completing an AHRC funded project, ‘Ever and 

Again: Rethinking Recycled Textiles’. 

Rebecca’s own-label award-winning collections – 

B. Earley – explore an exhaust printing process that 

she developed in 1998. More recently Rebecca has 

been working on the Top 100 project, upcycling 

polyester shirts using heat photogram and digital 

technologies. This work, spanning a ten-year 

period, will be shown in the Taking Time: Craft and 

the Slow Revolution exhibition, in October 2009. 

Rebecca has worked as a research and design 

consultant for organisations such as the Eden 

Project, and has also designed to commission 

for companies and individuals including Levi’s, 

Damian Hirst, Bjork and Kylie Minogue. 

(www.beckyearley.com, www.tedresearch.net, 

www.everandagain.info) 

researCh statement I can be described as a 

practice-based design researcher in that my 

research integrates designing both as a mode of 

investigation and communication of research 

outcomes. This practice component encompasses 

a wide range of design related activities. For 

example, I produce hand and digitally printed 

textiles for my own label, undertake public art 

projects and commissions and am an educator, 

facilitator and curator. 

I work within the Textiles Environment Design 

(TED) research cluster at Chelsea. This unique 

project, established in 1996, was the first research 

cluster in the UK that focused on the environmental 

impacts created at the design stage 

of textiles. TED places the individual textile 

practitioner centre stage, where ‘80–90% of the 

total lifecycle costs of any product (environmental 

and economic) are determined by the 

product design before production even begins’ 

(More For Less, Design Council Report, 1998). 

Through personal and group research at TED, 

we’ve developed a series of ‘Design Stories’ – 

combining environmentally positive principles 

and possible strategic solutions – intended 

to help individuals and small and medium 

enterprises make more informed design decisions. 

These are being explored through a broad 

portfolio of projects and workshop scenarios, 

which ask the designer to consider up to 

seven of TED’s strategies at any one time. The 

resulting textile product ideas generated 

at the end point uniquely combine theoretical 

thinking as well as material, technical, and 

social concepts. 

My interest in the environment emerged as 

I analysed my own studio design and production 

practices in 1997. I subsequently developed an 

exhaust printing technique, which produced 

hand printed textiles with no water pollution and 

minimal chemical usage. Since then I have 

continued to investigate new techniques and 

theoretical approaches to textile design, working 

on a variety of research projects including: an 

installation relating to natural indigo at the Eden


Project (2000–02); Well Fashioned, an exhibition 

dedicated to eco fashion, Crafts Council Gallery 

(2006–07); establishing the TED Resource, a 

facility for designers that draws together samples, 

products, imagery and information about eco 

textiles and fashion (2003–); and leading the 

Ever & Again: Rethinking Recycled Textiles 

project, an AHRC funded collaborative practicebased 

research project (2005–09). 



2009 co-curator and panel chair, Jerwood contemporary 

makers 2009, the Jerwood Space, london and the 

dovecote Studios, edinburgh. 

2007 ever and again, triangle Gallery, chelsea college of 

art and design, london. 

2006 ted website, www.tedresearch.net. 

2004–07 well Fashioned: eco Style in the uk, 2004–2007, 

the city Gallery, leicester; city museum & records 

office, Portsmouth; crafts councils Gallery, london. 

111 


2009–11 taking time: craft and the Slow movement, 

birmingham museum (craftspace touring). 

2008–09 imaginative Qualities of actual things, 3-logy 

triennial 2008, Price tower arts centre, oklahoma, uSa 

(august 2008 – January 2009) (with kate Goldsworthy). 

2008 evolution/revolution: the arts and crafts in 

contemporary Fashion and textiles, rhode island School 

of design, uSa. 

2008 technothreads: what Fashion did next, Science 

Gallery, dublin ireland. 

2007 refashioned: From waste to wear, Science museum’s 

dana centre, london (catwalk). 

2007 hometime, british council exhibition, Shanghai; 

beijing, china. 

2004 ethical Fashion, Paris. 

2003 hometime, chongqing and Guangzhou, china. 

2002 indigo exhibit 2002, eden Project, St austell, 

cornwall. 

2002 the new knitting, london college of Fashion, london. 

2002 Fabric of Fashion, british council (touring). 

2002 east london design Show, london. 

2002 Peugeot design awards exhibition, oxo tower wharf, 

london. 

2001–02 Great expectations, design council, new york. 

becky earley, eden Project Shirt 

collection from the top 100 

Project, heat photogram plant 

print onto recycled polyester shirt, 

size 10, 2002

112 


2006 morgan Stanley Great britons award (shortlisted). 

2005 arts and humanities research council, award for 

ever and again (www.everandagain.info). 

2003 Peugeot design awards, textiles (shortlisted). 

2002 arts and humanities research board, Small Grant 

(5 ways project, www.5ways.info). 

Selected conFerence PaPerS and talkS 

2009 ‘Sustainability and enterprise. creating competitive 

advantage: british design innovation for chinese 

businesses and designers.’, china (co-author with 

Professor kay Politowicz). 

2009 ‘Sustainability and craft’, meet the makers event, 

Jerwood contemporary makers 2009 exhibition, Jerwood 

Space, london, (presenter and chair). 

2008 ‘upcycling Fashion & textiles: technology, ethics, 

Systems and appropriateness’, institute of mining and 

materials; royal academy of engineering, london. 

2008 ‘the new designers: working towards our eco-Fashion 

Future’, Source, im masters, design academy 

eindhoven, holland. 

2008 ‘ted at techno threads’, Science Gallery, dublin. 

2008 ‘textiles and the environment: the role and 

responsibilities of the textile designers of the Future’, 

Stroudwater international textiles Festival, 21st century 

textiles Symposium. 

rebecca earley, 

disco Plant Print collection 

for barneys new york, 

heat photogram print scanned and 

digitally printed onto wild eco silk, 

100 × 160 cm, 2006 


2007 ‘textile Futures Salon 2: what Future for eco textile 

design?’, institute of contemporary art (ica), london 

(co-curator and presenter). 

2007 ‘Sometimes you Just have to do it yourself’, at annual 

design conference, tasmeen doha, virginia 

commonwealth university School of the arts. 

2007 ‘the new designers: working towards our eco Fashion 

Future’, dressing rooms: current Perspectives on Fashion 

and textiles conference, oslo university college, norway 

(paper). 

2007 texprint Symposium, london. 

2006 ‘enterprise, innovation and environmental concerns’ 

at national enterprise week, innovation centre, central 

Saint martins college of art and design, london. 

2006 ‘making (it) work together: creative collaborations 

between makers, thinkers, researchers’, at intersection / 

artquest conference, university of the arts london. 

2005 ‘eco Fashion design: reduce, recycle, rethink, 

interrogating Fashion’, ahrc research cluster, london 

college of Fashion. 

2005 ‘eco Fashion design’, middlesex university. 

2004 ‘creating a happy Future’, london metropolitan 

university.


rebecca earley, ever and again: rethinking recycled textiles, heat photogram and digital dye 

sublimation print onto recycled polyester shirt, size 12, 2007 

113

114 

FairninGton mark 

reader 

Biography Mark Fairnington is a Reader at 

Wimbledon. His practice is founded on painting 

as its primary method of research and explores an 

interest in the lineage of animal painting and its 

relation to the history of collecting within the 

natural sciences, probing the image of natural 

history specimens in collections, in storage and in 

displays. For a number of years Fairnington 

has focused his research on the large number of 

specimens housed in the Natural History 

Museum, London. The project has been fuelled 

by a fascination in the way that visual language 

has been used to describe the specimens and 

discoveries of the 19th century, when naturalists 

and collectors were involved in a race to explore 

and possess the natural world. Fairnington was 

born in Newcastle in 1957 he now lives and works 

in London. 

He is represented by Fred (London), Art Agents, 

Hamburg and Peter Zimmermann, Mannheim. 

researCh statement ‘The subjects of 

Fairnington’s paintings are made more singular 

through being painted. He is building a sort of ark 

– a raft of individual creatures and typologies of 

painting, which probes the possibility of realism. 

Despite his finely wrought brushwork and 

scrupulous pictorial research, there is a sense that 

he revels in the tendrils of ignorance that still 

permeate the natural and psychological worlds. 

Like the vitrines and bell jars that house these 

specimens, we are all kept in a perpetual bubble 

of partial truths and convenient lies. The natural 

world is like raw footage that the artist can script 

and reframe into a narrative of his own, using the 

syntax of the fantasist with as much veracity as 

that of the scientist.’ 

—Sally O’Reilly, Mark Fairnington, Galerie Peter 

Zimmermann, 2005 



2007 dynasty, art agents, hamburg. 

2006 the raft, Fred, london. 

2005 Galerie Peter zimmermann, Frankfurt art Fair. 

2004 Galerie Peter zimmermann, mannheim, Germany. 

2004 wunderkammer ii, kunsthalle mannheim, Germany. 

2004 artlab, imperial college, london. 

2003 mobile home Gallery, london. 

2002 dead or alive, oxford university museum of natural 

history; harewood house, leeds. 


2009 40 artists – 80 drawings, the drawing Gallery, Powys. 

2009 a duck for mr darwin, baltic centre for contemporary 

art, touring to the mead Gallery, warwickshire. 

2008–09 war and medicine, the wellcome collection, 

london. 

2008 Farmer’s market, handel Street Projects. 

2008–09 the artist’s Studio, compton verney. 

2007–08 bloedmoo, the historic museum rotterdam. 

2005 young masters, 148a John Street, london. 

2005 blumenstück.künstlers Glück, museum morsbroich, 

leverkusen, Germany. 

2005 infallible in Search of the real George eliot, hatton 

Gallery, newcastle. 

2004 John moores 23, walker art Gallery, liverpool. 

2004 Fabulous beasts, the natural history museum, 

london. 

2004 the Goat, medieval modern, with olivier richon. 

2004 transmission Portfolio, domo baal Gallery, london. 

2003 transmission Portfolio, Site Gallery, Sheffield. 

2003 the human zoo, hatton Gallery, newcastle. 

2003 infallible in Search of the real George eliot, aPt 


2003 mead Gallery, warwick arts centre. 

2003 chockerfuckingblocked, Jeffrey charles Gallery, 

london. 

2002 like gold dust, angel row Gallery, nottingham. 

2002 alessandra bonomo Gallery, rome. 

2002 history revision, Plymouth arts centre. 

2002 no one begins a lunatic, Jeffrey charles Gallery, 

london. 

2002 intimacy, russel-cotes museum, bournmouth.

FairninGton mark 

mark Fairnington, meardy tally, oil on canvas, 235 × 367 cm, 2009 

(this painting was included in the baltic exhibition) 

115

116 

Faure walker James 

reader 

Biography James Faure Walker is a Reader at 

Camberwell and is a painter, digital artist and 

writer. He studied at St Martins School of Art 

(1966–70) and the Royal College of Art (1970–72). 

He has been incorporating computer graphics in 

his painting since 1988. In 1998 he won the 

‘Golden Plotter’ at Computerkunst, Gladbeck, 

Germany. One-person exhibitions include Galerie 

Wolf Lieser, Berlin (2003), Galerie der Gegenwart, 

Wiesbaden, Germany (2000, 2001), Colville Place 

Gallery, London (1998, 2000), the Whitworth, 

Manchester (1985). Group exhibitions include 

Imaging by Numbers, Block Museum, Illinois, USA 

(2008), Siggraph, USA (eight times 1995–2007), 

John Moores (1982, 2002), DAM Gallery (2003, 

2005, 2009), Bloomberg Space (2005), Digital 

Salon, New York (2001), Serpentine Summer 

Show (1982), Hayward Annual (1979). He has 

eleven works in the collection of the Victoria & 

Albert Museum. He co-founded Artscribe 

magazine in 1976, and edited it for eight years. His 

writings have appeared in Studio International, 

Modern Painters, Mute, Computer Generated Imaging, 

Wired, Garageland, and catalogues for the Tate, 

Barbican, Computerkunst and Siggraph. His book, 

Painting the Digital River: How an Artist Learned to 

Love the Computer, was published by Prentice Hall 

(USA) in 2006, and was awarded a New England 

Book Show Award. 

researCh statement I have become fascinated 

by how-to-draw books of the 1920s, and wondered 

whether I could connect these with the drawing 

software of our own time. Having published 

a book on digital painting, a book on digital 

drawing seemed the obvious next step. The idea of 

‘digital drawing’, however, caused some disquiet 

in drawing circles, and for my part, I cannot think 

of it as a coherent concept. Equally, a study of 

assumptions about drawing common in the 1920s 

suggests that what now passes as ‘traditional’, or 

‘human-centred’ in drawing, would not have been 

recognised as such by the drawing gurus of that 

time. 

I have touched on this in a series of essays and 

book chapters – ‘Pride, Prejudice and the Pencil’, 

and ‘Drawing Lessons for Ants’ for example – but 

shaping the ideas into one book format with an 

appeal both to a technologically minded 

readership and to the drawing enthusiasts is quite 

a problem. 

That is long-term. Much of my research is also 

improvised according to exhibitions and 

opportunities that come up. I am currently 

working on a project for the South African World 

Cup 2010, to produce a print that evokes the event 

without being too specific – because of copyright 

issues. The research for that consists – or is an 

excuse for – watching parts of the Confederations 

Cup. Normally, however, I gather images or ideas 

less methodically. I regularly photograph the 

Olympic Site, close to my studio. Another sports 

theme, I realise. 

I have been using paint software in combination 

with regular painting methods for over twenty 

years, and this still throws up its surprises week 

by week. I would not argue that painting was 

necessarily ‘research’, but it is probably the best 

way of understanding the impact of digital 

methods, and the structures possible in abstract 

painting. 

The drawing books of the early 20th century – 

derided as book academies – were banned from 

the Royal Academy because they might 

undermine the Professors’ teaching. In 

comparison today art education has become

Faure walker James 

impersonal, over-regulated and uncertain. A book 

that laid down core principles, whether for 

drawing, digital art, or installation, would seem 

out of place. I have no ambitions in that direction, 

but I do find it stimulating to study obsolete 

methods and processes, with their helpful 

illustrations. 


PublicationS 

2008 Faure walker, J. ‘Pride, Prejudice and the Pencil’, 

Garner, S., (ed.) writing on drawing, intellect/ university 

of chicago. 

James Faure walker, villa dora, 

archival epson inkjet print, 

104 × 86 cm, 2008 

117 

2006 Faure walker, J. Painting the digital river: how an 

artist learned to love the computer, Prentice hall, uSa. 


2009 window Galleries, canary wharf. 

2006 Fosterart, london. 

2003 Galerie wolf lieser, berlin. 


2010 FiFa South african world cup international Fine art 

Print Project, (worldwide). 

2009 the best of digital art, dam Gallery, berlin. 

2009 mini-meta, beardsmore Gallery, london. 

2008 meta, ruskin Gallery, cambridge. 

2008 digital eyes, los angeles municipal art Gallery, uSa. 

2008 Space now (40 years of Space Studios), triangle 

Gallery, london.


2008 the digital view, arti et amicitiae Gallery, 

amsterdam, holland. 

2008 11th Japan media arts Festival, tokyo, Japan. 

2008 imaging by numbers: a historical view of the 

computer Print exhibition, the mary and leigh block 

museum of art, illinois, uSa. 

2007 Graphite 2007, digital art exhibition, Perth, au, 

december. 

2007 london Group, (invited window project), bridge art 

Fair, trafalgar Square, london. 

2007 dark Filament exhibited, Siggraph art Gallery, San 

diego, uSa, august. 

2007–09 Siggraph travelling art Show (worldwide). 

2007 cade, Perth, au. 

2006 ideaS 2006, San diego, uSa. 

2006 computerkunst, Gladbeck, Germany. 

2006 london Group, arti et amicitiae’s Salon, amsterdam. 

2005 ‘1979’, bloomberg Space, london. 

2003 Siggraph art Gallery, San diego. 

Selected conFerence PaPerS and articleS 

2009 Paper and forthcoming publication ‘digital art and 

Painting’, computer Space conference, Sofia, bulgaria 

(invited speaker). 

2009 Paper and forthcoming publication ‘drawing lessons 

for ants’, iSea conference, belfast 

2009 Paper ‘the origins of artscribe’, at the artists’ 

writings conference, courtauld institute. 

James Faure walker, dutch waltz, 

oil on canvas, 142 × 163 cm, 2009 

2008 ‘a drawing book for a digital world?’, 100 years of 

Fine art, helwan university, cairo, egypt. 

2008 Paper and forthcoming publication ‘machines, drawing 

and vision: notes towards a book on digital drawing’, 

chart conference, london. 

2007 magazine article, ‘translation, translation, oh 

translation’, Garageland magazine. 

2007 Paper ‘Painting digital, letting Go’, in bentkowskakafel, 

a., cashen, t., Gardiner, t. Futures Past: twenty 

years of arts computing, intellect. 

2006 ‘Painting in a digital world: i told you so’, Siggraph 

conference, boston, uSa (published in the electronic art 

and animation catalogue). 

2006 Panel member, ‘drawing the Future’, drawing 

Symposium, national Gallery, london (published by 

university of the arts, Farthing, S. (ed.)). 

2004 invited keynote Speaker, ‘the reckless and the artless: 

practical research and digital painting’, paper presented 

at university of hertfordshire research into Practice 

conference (published in working Papers in art and 

design, refereed journal). 

2004 ‘Painting digital and letting Go’, paper given at chart 

conference Futures Past: twenty years of arts computing, 

birkbeck, university of london (published online).

Fortnum rebecca 


Biography Rebecca Fortnum is a Reader and 

MA Visual Arts (Fine Art) Pathway Leader at 

Camberwell. She has been an Associate Lecturer 

at Bath Spa, Central Saint Martins and Chelsea 

College of Art and Design, a Visiting Fellow 

in Painting at Plymouth University and at 

Winchester School of Art, a Research Fellow at 

Lancaster University, a visiting artist at 

The School of the Art Institute of Chicago and 

a Senior Lecturer at Norwich School of Art 

and Wimbledon College of Art. Awards include 

the Pollock-Krasner Foundation, the British 

Council, the Arts Council of England, the British 

School in Rome and the AHRC. She has had 

solo shows at the Collective Gallery, Edinburgh, 

Spacex Gallery, Exeter, Kapil Jariwala Gallery, 

London, Angel Row Gallery, Nottingham, The 

Drawing Gallery, London and Gallery 33, Berlin. 

She was instrumental in founding the artist- 

run spaces Cubitt Gallery and Gasworks Gallery, 

both in London. She is currently participating 

in Method, a pilot programme for artist/ 

practitioner leadership development, supported 

by the Cultural Leadership Programme. 

researCh statement My research falls into 

four related areas; fine artists’ processes and 

their documentation; a visual art practice; fine art 

pedagogy; contemporary women artists and 

feminist theory. 

My research into visual artists’ making processes 

has led me to work with many leading British 

artists including Vong Phaophanit, Michael 

Ginsborg and Paula Kane, finding creative ways 

to document and reflect on their making 

processes Much of this research stems from my 

research project, Visual Intelligences at the 

Lancaster Institute for Contemporary Arts where 

I was a research fellow from 2004–09 and my 

119 

current project How Art Thinks, based at the 

International Centre for Fine Art Research (ICFAR) 

at University of the Arts London (UAL). Some of 

this research is available on visualintelligences.com 

including an AHRC funded pilot study to test 

the methodologies for documentation of artist’s 

processes. This website also includes the 

documentation of two research symposia that 

I organised including Did Hans Namuth Kill 

Jackson Pollock? The Problem of Documenting 

the Creative Process held at Chelsea College of Art 

and Design in 2007. Research seminars/talks on 

this subject have been given at The Royal College 

of Art, Loyola University, New Orleans, California 

State University, Stanislas, and Hertfordshire 

University amongst others. This research led to 

my appointment as international lead artist at the 

TRADE programme in Ireland where I worked 

with 5 Irish artists finding ways they could record 

and reflect on their own processes of making 

and thinking (www.roscommonarts.com/artsoffice/ 

programmes/trade.htm). Most recently I have 

begun to write on the role of ‘not knowing’ within 

the creative process in several conference 

contributions and organised a symposium called 

On Not Knowing; How Artists Think at Kettle’s 

Yard in Cambridge this year. 

My visual art practice includes painting, drawing, 

print-making and photographic practice as well 

as curating. Curatorial projects include Fluent, 

Painting & Words that included work by Peter 

Davies, Simon Linke and Maria Chevska (2005) 

and Unframed which included Rosa Lee, Jo Bruton 

and Katie Pratt and was funded by the Arts 

Council (2006). I have exhibited with The Drawing 

gallery (Shropshire and London) since its 

inception in 2005. In 2008 I was an artist in 

residence at London Print Studios as part of the 

Space for 10 programme (www.spacefor10.org.uk).


Most recently I have received a commission to 

contribute to a drawing ‘conversation’ for Th:Ink 

cahier of drawing research, published by Ghent Art 

Academy and will be speaking at their first 

symposium in September 2009. My current work 

is principally within painting and uses text, 

portraiture and pattern making to reflect on 

issues of empathy and communication. I have 

recently convened Paint Club, an open research 

network within UAL. 

rebecca Fortnum, work from 

‘blind’ series, photo etching, 

9 × 12 cm, 2008 

I am currently the CLIP CETL co-ordinator for 

Camberwell and lead the MA Fine Art pathway of 

the MA Visual Art. I have written on the use of the 

studio within the art academy and (with Katrine 

Hjelde) the recent development of fine art 

practice towards the ‘educational turn’. I am 

particularly interested in the relationship 

between contemporary art practice and how the 

subject is taught at HE level. I have recently 

undertaken pedagogical research including

Fortnum rebecca 

working on UAL’s project The Teaching Landscape 

in Creative Subjects in which I co-wrote the Fine 

Art report (www.arts.ac.uk/clipcetllandscapes.htm). 

I have just completed a University Teaching 

Fellowship, examining the written feedback in 

assessment reports at undergraduate level. 

I have a long held interest and activity in feminist 

art theory and contemporary art practices 

by women artists. I contributed a chapter to 

Unframed, the politics and practices of women’s 

contemporary painting edited by Rosemary 

Betterton 2004 and curated a symposium at 

Camberwell of the same name in 2005. 

My book, Contemporary British Women Artists, in 

their own words, was published in 2007 and 

received AHRC and Arts Council Funding. 

Recent activity includes writing for several all 

women exhibitions and interviewing artists for 

BBC Radio 4 Women’s Hour. 

121 

rebecca Fortnum, work from 

‘blind’ series, photo etching, 

9 × 12 cm, 2008




2007 contemporary british women artists, camberwell 

college of arts, london. 

2006 False Sentiment, Gallery 33, berlin (two person). 

2005 June Fitzpatrick Gallery, maine, uSa (two person). 

2005 rebecca Fortnum, the drawing Gallery, london. 


2009 40 artists – 80 drawings, the drawing Gallery, 

Shropshire. 

2008 the walls in three Places, white nave, dover. 

2008 life’s a Gas, beverley knowles Fine art, london. 

2008 the notebook Project, Festival of ideas, cambridge 

university. 

2006 inspiration to order, california State university 

Stanislaus Gallery, uSa & the winchester Gallery, uk 

and the wimbledon Gallery, ual. 

2006 wish you were here, a.i.r. Gallery, new york. 

2004 unframed, Standpoint Gallery, hoxton, london. 


2009 ‘Paula kane: Studio wall’, editor, eyeseefar the 

publishing imprint of icFar & rGaP. 

2007 Journal of visual art Practice edition (6.3), on the 

documentation of artists processes, co-editor (with chris 

Smith). 

2006 contemporary british women artists: in their own 

words, i.b. tauris (ny & london). 

2004 ‘Seeing and feeling’ (chapter), in betterton, r. (ed.), 

unframed, the practices and politics of women’s 

contemporary painting, i.b. tauris, 2004, pp.138–61. 

recent conFerence PreSentationS 

2009 conference introduction at the Processes of Painting 

symposium, ual and icFar. 

2009 ‘Fine art’s Pedagogic turn’, at Glad conference 2009, 

with katrine hjelde. 

2009 conference introduction at on not knowing; how 

artists think, interdisciplinary symposium kettle’s yard, 

cambridge. 

2008 ‘on not knowing what you are doing; the importance 

of the studio to fine art’, at aah conference, tate britain. 

2008 ‘on not knowing; the creative Process and the 

academy’, at european league of institute of the arts 

(elia) research meeting, zurich. 

2008 ‘the internal Quality audit; how artists judge 

themselves’, with dr claire macdonald at Sensuous 

knowledge 5, bergen art academy, norway. 

awardS 

2009 method, cultural leadership Programme. 

2007 Faculty of arts and Social Sciences research award. 

2006 lancaster university, Small research Grant. 

2005 ahrc Small Grant in the creative arts. 

2005 oppenheim-John downes award. 

2004 arts council individual award. 

2004 ahrb Small Grant in the creative arts. 

recent reSidencieS 

2007 Space for 10 – the art house residency / creative 

development programme. 

2007 trade residency programme (lead artist with alfredo 

Jaar), roscommon, ireland.

kikuchi yuko 

reader 

Biography Dr Yuko Kikuchi is a Reader at 

Camberwell. She was born in Tokyo and educated 

in Japan, the USA and UK. After completing 

a BA in English and American literature and an 

MA in American Studies, she worked at the 

School of East Asian Studies, University of 

Sheffield. Kikuchi joined the University of the 

Arts London in 1994 and currently teaches and 

supervises research degree students and conducts 

research as a core member of the TrAIN research 

centre. Kikuchi’s research interest lies in crosscultural 

and transnational issues in relation 

to non-western modernities in art/design. Her 

PhD study on the Japanese folkcrafts (Mingei) 

movement opened her eyes not only to the 

complexity of modernity and national identity in 

Japan, but also to multiple modernities and interregional 

relations in East Asia. Subsequently, it 

led to a project on Taiwanese visual culture 

during Japanese colonisation. She is currently 

leading a new international joint project ‘“Oriental” 

Modernity: Modern Design Development 

in East Asia, 1920–1990’ to investigate regional 

and inter-regional development of modern design 

in Japan, Korea, China/Taiwan/Hong Kong. 

She is also involved in the AHRC funded international 

project ‘Forgotten Japonisme: The Taste 

for Japanese Art in Britain and the USA, 1920s– 

1950s’, for which she is investigating 1950–60s 

American Japonisme in relation to the Cold War. 

researCh statement My current research 

interest is on modernities in art and design in East 

Asia. The post-colonial cultural debate has shifted 

from the binary relations of West over East, to 

inter-relations between East and West, followed 

by, more recently, East within East and the 

transnational. Accordingly, my interest has also 

shifted from Japanese modernity in relation to 

Euro-american modernity (such as my study on 

123 

Mingei) to multilateral cultural analysis on East 

Asian modernities in relation to Euro-american 

modernity and Japanese modernity (as exemplified 

by my study on colonial modernity in 

Taiwanese visual culture and current research). 

East Asia has been a historically and geoculturally 

shared area, but due to the political disruption 

and fragmentation brought about by Euro- 

American and Japanese colonisation, followed 

by civil wars and finally the Cold War, crossregional 

studies in art and design in the area have 

not been undertaken. I am currently leading a 

new international joint project ‘“Oriental” 

Modernity: Modern Design Development in East 

Asia, 1920–1990’ to investigate regional and interregional 

development of modern design in Japan, 

Korea, China/Taiwan/Hong Kong. Together with 

local experts in East Asia, this project aims to 

create a multilateral critical framework for 

identifying regional differences between East 

Asian modernities in a shared and refracted Euro- 

American modernity. I’m also involved in the 

AHRC funded project ‘Forgotten Japonisme: 

The Taste for Japanese Art in Britain and the USA, 

1920s–1950s’ led by Professor Toshio Watanabe, 

Director of the TrAIN research centre. In this 

project, I am investigating 1950’s–60’s American 

Japonisme through American designer Russel 

Wright’s intervention in Asia during the Cold 

War period. In each of these, my research is 

primarily in the area of craft/product design. 


PubliShed bookS 

2004 Japanese modernisation and mingei theory: cultural 

nationalism and oriental orientalism, london: routledge/ 

curzon. 

2007 refracted modernity: visual culture and identity in 

colonial taiwan, university of hawaii Press, honolulu 

(nominated for the 2009 charles rufus morey book 

award).


PubliShed book chaPterS/Journal articleS 

2008 ‘yanagi S - oetsu and korean crafts within the mingei 

movement’, in hoare, J.e. and Pares S. (eds), ‘korea: the 

Past and the Present: Selected Papers from the british 

association for korean Studies bakS Papers series, 

1991–2004’, Folkestone, kent: Global oriental. 

2008 ‘russel wright and Japan: bridging Japonisme and 

Good design through craft design’, in Journal of modern 

craft, 1–3. 

2006 ‘From representation to Subjectivity: taiwanese 

‘vernacular’ crafts’, the Proceedings of the Papers at 

international conference on history and culture of 

taiwan. 

2005 ‘Japan and the mingei movement’, in livingstone, k. 

and Parry, l. (eds), international arts and crafts, 

london: victoria & albert Publications. 

2005 ‘yanagi S - oetsu et l’artisanat traditionnel japonais’, 

dossier de l’art, 118. 

2002 ‘the british discovery of Japanese art’, in daniels, G. 

and tsuzuki, c. (eds), the history of anglo-Japanese 

relations 1600–2000, vol.5, tokyo: university of tokyo 

Press (Japanese version) and Palgrave (english version). 

curation 

2005–06 ‘international arts and crafts’ (Japan Section) at 

the victoria & albert museum; indianapolis museum of 

art; and Fine arts museums of San Francisco. 

yuko kikuchi, Japanese modernisation and mingei 

theory: cultural nationalism and oriental 

orientalism, london: routledgecurzon, 2004 

yuko kikuchi, refracted modernity: visual culture 

and identity in colonial taiwan, honolulu: university 

of hawaii Press, 2007

newman hayley 

reader 

Biography Hayley Newman is a Reader at 

Chelsea. She received a BA at Middlesex 

University before gaining a Higher Postgraduate 

Diploma in Fine Art at the Slade School of Art. In 

1995 she took up a DAAD scholarship in the class 

of Marina Abramović at the Hochschule für 

Bildende Künste, Hamburg after which she was 

awarded the Stanley Burton practice-based 

research scholarship at the University of Leeds, 

completing her PhD in 2001. In 2004/05, she was 

the recipient of the Helen Chadwick Arts Council 

of England Fellowship at the British School at 

Rome and the Ruskin School of Drawing and Fine 

Art, Oxford. She has performed and exhibited 

widely and has had solo shows at Matt’s Gallery, 

London, The Ikon Gallery, Birmingham, Centre 

d’Art Contemporain, Geneva and The Longside 

Gallery at the Yorkshire Sculpture Park. She has 

performed at Camden Arts Centre, South London 

Gallery, Barbican Art Gallery and The Hayward 

Gallery. Group exhibitions include Her Noise, 

South London Gallery, London; Documentary 

Creations, Kunstmuseum, Lucerne; Camera/Action, 

Museum of Contemporary Photography, Chicago 

and Live Culture, Tate Modern, London. She lives 

and works in London and is represented by Matt’s 

Gallery. 

researCh statement I am interested in 

performance and performativity, with particular 

relation to documentary practices, subjectivity, 

intervention and fiction. My work is often 

performative and explores ways that context 

shapes language and action. Recent work has 

taken the form of a series of public interventions 

that have served as frameworks for dialogue 

between participants. Each work encourages 

conversation to be performed within its given 

context. 

125 

Milton Keynes Vertical Horizontal (MKVH, 2006) 

was a public event in which volunteers were 

driven around the Milton Keynes road grid until 

their coach ran out of diesel. The book MKVH 

(The Screenplay), 2008, is based on this journey. 

Written in the style of the original Easy Rider 

screenplay from 1969, the book is an edited 

transcript of conversations that took place on the 

original 39 hour trip. It includes diary entries, 

photos, drawings, radio interviews, local and 

national news stories and employs a cut-up 

technique that mixes fact and fiction into an 

occasionally seamless narrative. The screenplay 

builds on ideas around inter-subjectivity, memory 

and narrative and comments on peak oil with 

particular relation to the car dependent culture of 

the new city of Milton Keynes. 

In 2009 the writer Andrea Mason and I inaugurated 

the self-help group Capitalists Anonymous 

(C.A.), which is a forum for people to come and 

confess their capitalist tendencies. Originally 

set up for bankers in the wake of the economic 

crash, C.A. was seen as a therapeutic intervention 

that provided ‘a supportive environment in 

which to share… stories of greed, excess consumption, 

shopping addiction and explore … fears or 

excitement about what’s next?’ The inaugural C.A. 

meetings took place in June 2009 on the steps of 

the Royal Exchange in the City of London. The 

work is part of ongoing interest in economics, the 

environment and the effects of climate change 

on people around the world. 



2008 miniFlux, alt Gallery, newcastle. 

2007 catch this – new works from the arts council 

collection, longside Gallery, yorkshire Sculpture Park. 

2003 hayley newman, centre d’art contemporain, Geneva. 

2002 hayley newman, ikon Gallery, birmingham.


hayley newman, mkvh (milton keynes vertical horizontal), public artwork, 2006 


2009–10 emporte-moi / Sweep me off my Feet, musée 

national des beaux-arts du Québec, canada and mac/ 

val, Paris. 

2007 Smoke, Pumphouse Gallery, london. 

2007 i am making art – chapter 4 Feminism, centre d’art 

contemporain Genève. 

2006 responding to rome, estorick collection, london. 

2006 Für die ewigkeit, Jet, berlin. 

2006 international exhibitionist, curzon cinema, london. 

2005 chronic epoch, beaconsfield, london. 

2005 there is always an alternative, temporary 

contemporary and work and leisure international 

london and manchester. 

2005 Plural 2, british School at rome. 

2005 resonance, montevideo, amsterdam. 

2005 documentary creations, kunstmuseum lucerne. 

2005 resonance, netherlands media art institute, 

motevideo, amsterdam. 

2005 Showcase – new works from the arts council 

collection, South london Gallery, london. 

2004 camera/action, museums of contemporary 

Photography, chicago. 

2004 britannia works, british council group show, athens. 

2003 art, lies and videotape, tate liverpool. 

2003 live culture, tate modern, london. 

2002 a Short history of Performance, whitechapel Gallery, 

london. 

2002 ‘Superhero artstaar – beyond Good and evil’, Gertrude 

Street 200, melbourne, australia. 

Selected PerFormanceS and ProJectS 

2009 c.r.a.S.h culture, arts admin, london. 

2007 luck be a lady tonight, alma enterprises, london. 

2006 how to improve the world; 50 years of the arts 

council collection, hayward Gallery, london. 

2005 karaoke record cutting, barbican art Gallery, london. 

2005 moscio, rialto, rome. 

2004 ‘come on’ and drawing Performance (drawing in 

collaboration with yang zhichao), Soho, beijing. 

authored bookS 

2008 mkvh, milton keynes Gallery, milton keynes 

2004 the daily hayley, matt’s Gallery, london.

newman hayley 

Selected textS 

2007 ‘a Secret Sculpture’, in art u need – my part in the 

public art revolution, bob and roberta Smith, black dog 

Publishing. 

2005 artists pages in china live: reflections on 

contemporary performance art, chinese arts centre / 

live art development agency. 

2005 ‘connotations Performance images, 1994–1998’, 

in live: art and Performance, tate Publishing. 

Selected PreSentationS/conFerence 

contributionS 

2006 ‘Performance and video’ presentation at the 14th 

international Performance conference, artists 

association / blue Space dalat and ho chi minh city, 

vietnam. 

2005 ‘Performance to camera and liveness.’, at video art; 

from the margins to the mainstream, tate britain. 

hayley newman, mkvh (milton keynes vertical horizontal), public artwork, 2006 

127 

Selected commiSSionS 

2009 out of memory, live art development agency, london. 

2006–07 a Secret Sculpture, rochford reservoir, rochford, 

essex. 

2006 mkvh (milton keynes vertical horizontal), milton 

keynes Gallery, milton keynes. 


2004 arts council of england helen chadwick Fellowship, 

ruskin School of drawing and Fine art, oxford and 

british School at rome. 

2004 one to one live art bursary.

128 

Pavelka michael 

reader 

Biography Michael Pavelka is a Reader at 

Wimbledon. His theatre design work includes 

two productions with Lindsey Anderson: The 

Fishing Trip and Holiday, (Old Vic); with Edward 

Hall/Propeller Company: Henry V, Winter’s Tale 

(in the UK, Europe, USA and Far East), and Rose 

Rage (West End, Chicago and New York – Best 

Costume Design nomination Jeff Awards, 

Chicago). Library Theatre Manchester designs 

include The Life of Galileo (Best Design MEN 

Awards), plus numerous Shakespeare and Brecht 

productions. 

Pavelka co-produced the Young People’s 

Shakespeare Festival (Ulaanbaatar, Mongolia) and 

designed for the first African language Mother 

Courage and Her Children (NT Uganda, Kennedy 

Center, Washington DC and Grahamstown 

Festival, South Africa). Recent work includes 

Revelations and Off the Wall with Liam Steel (Stan 

Won’t Dance) at QEH with UK tour and Twelfth 

Night (Seattle Rep), Taming of the Shrew at the Old 

Vic, RSC and touring internationally. This year, he 

is working on Merchant of Venice and A Midsummer 

Night’s Dream (touring internationally). 

His West End productions include: Constant Wife, 

How the Other Half Loves, Other People’s Money, 

Leonardo, Blues in the Night (also Dublin, New York, 

Tokyo), Macbeth starring Sean Bean, A Midsummer 

Night’s Dream, A Few Good Men and Absurd Person 

Singular. Work for the RSC includes: The Odyssey, 

Two Gentlemen of Verona, Henry V and Julius Caesar 

and for National Theatre, Edmond starring 

Kenneth Branagh. 

researCh statement My current practicebased 

research continues to extend over a decade 

of production work with the ensemble company 

Propeller of which I am a founder member. Each 

project now spans a period of eighteen months 

and has recently involved double bills of plays, 

produced in England but toured across the UK, 

continental Europe, North America and the Far 

East. These radical but accessible productions 

of Shakespeare’s most challenging and layered 

works are explored in the context of all-male 

casting. 

The scenography supports performance that is 

characterised by its intensely physical approach, 

speed and clarity. Cross-gender casting presents 

opportunities to investigate the language of 

clothing and movement that are approached in 

different ways from project to project depending 

on the metaphorical positions of the characters. 

The ensemble company framework presents 

dynamic solutions to Shakespeare’s narratives 

that are told by a chorus with a specific social 

identity, unified as a force with costume, music 

and movement. The chorus are usually being seen 

to ‘devise’ the stories in view of the audience 

and underscore them with live soundscapes 

created with unusual objects as well as musical 

instruments – their continuous presence provide 

the focus for scenographic ideas and images. 

The company is committed wider accessibility 

and the productions attract diverse audiences. 

Its output has been extended to include the 

publication of ‘pocket’ versions of the texts for 

educational outreach. Recognition of this 

work is reflected by extended support from the 

Arts Council of England and the Department 

of Education. 

A second strand of recent work with collaborator 

Liam Steel involves the exploration of themes 

through devised visual storytelling with

Pavelka michael 

michael Pavelka, henry v, royal Shakespeare company, Stratford and barbican 

performers who bridge dance, acting and other 

disciplines such as circus and ‘parcours’. The 

scenography integrates ambitious engineering 

with multimedia imagery and attempts to give 

performers the means to use the entire volume of 

theatrical space, often suspended. 

The two strands of research connect when 

productions with Liam Steel have involved the 

interpretation of classic stories, such as Dickens, 

with ensemble companies of performers to find 

inventive contemporary means of telling familiar 

epic tales. Sleight of hand is at the root of this 

work and the design solutions are dependent 

upon close collaborative partnerships with the 

creative team. 


129 

Selected PerFormanceS 

2009 the Good Soul of Szechuan, library theatre company, 

manchester. 

2008–09 the merchant of venice and a midsummer night’s 

dream, world tour. 

2008 a midsummer night’s dream (reduced version), uk 

touring. 

2008–09 Great expectations, library theatre company, 

manchester. 

2008 absurd Person Singular, wyndhams theatre, london 

west end. 

2006 the taming of the Shrew Propeller / rSc co-production. 

2005 oliver twist, directed by roger haines (ltc) and liam 

Steele (dv8) library theatre, manchester. 

2005 the winter’s tale, directed by edward hall Propeller 

theatre company at the watermill. 

2005 a Few Good men, directed by david esbjornson, 

starring rob lowe at west end’s theatre royal, 

haymarket.


2003 edmond, directed by edward hall, starring kenneth 

branagh at royal national theatre (olivier stage). 

2003 rose rage (new Production), directed by edward hall 

chicago Shakespeare theatre the duke theatre on 42nd 

Street, new york. 

2002 the constant wife, directed by edward hall, west end 

apollo, lyric theatres. 

2002 rose rage (henry vi trilogy in two parts), directed by 

edward hall Propeller theatre company. 

2002 uk tour, west end theatre royal haymarket italy, 

turkey, Poland. 

2002 macbeth, directed by edward hall ambassadors 

theatre Group, west end albery theatre. 

2002 a midsummer night’s dream, directed by edward hall 

Propeller theatre company, uk and international tour 

including: barbados, Germany, italy, bam new york. 


2004 three public sculptures for cow Parade, including the 

opening exhibit at manchester airport . 

2002 ‘our henry’, two designs for 2d>3d exhibits of design 

process for henry v and vi, category: the line in Space, 

Sheffield. 

michael Pavelka, Julius caesar, royal Shakespeare company, 

Stratford and barbican 


Production photograph and a diary entry in thomson, P. 

mother courage and her children, cambridge 

Publications. 


2004 nominated best costume design, Jeff awards, chicago, 

uSa. 

2003 winner best touring Production, barclays tma award 

for a midsummer night’s dream. 

2002 winner best touring Production, barclays tma award 

for rose rage.

Quinn malcolm 

reader 

Biography Dr Malcolm Quinn is Reader in 

Critical Practice at Wimbledon. His research deals 

with aesthetics, politics and public culture, 

using psychoanalytic frameworks to analyse the 

constitution of speech and the structures of 

language in art and design. His research in the 

field of politics and aesthetics began with his 

book The Swastika: Constructing the Symbol 

(Routledge 1994), which appeared in the ‘Material 

Cultures’ series produced by the Department of 

Anthropology at University College London. This 

research has since led to published articles, 

appearances on radio and television, and as an 

invited speaker discussing political symbolism, 

totalitarian culture and branding, most recently 

at a symposium on post-totalitarian space at the 

Romanian Cultural Institute in 2008. Quinn’s 

more recent research has employed a Lacanian 

psychoanalytic framework for the analysis 

of politics, aesthetics and mass culture. This work 

has developed since the publication (with 

Professor Dany Nobus) of a study of the methodologies 

of applied psychoanalysis, entitled 

Knowing Nothing, Staying Stupid: Elements for a 

Psychoanalytic Epistemology (Routledge 2005). 

Quinn’s latest work uses Lacanian psychoanalytic 

models of the social bond, to study the evolution 

of art and design language in the UK following 

the Reform Bill of 1832. 

researCh statement My current research is 

engaged with the role of UK government, 

museums and the early publicly-funded art 

school, in the development of a unified language 

for art and design activity through an engagement 

with public culture and industrial capital, 

following the Reform Bill of 1832. This work is 

specifically founded on an investigation of the 

psychoanalyst Jacques Lacan’s account of the 

philosopher Jeremy Bentham, an historical 

131 

account of the Bentham’s followers in the Political 

Economy Club and the Board of Trade who sat on 

the Select Committee on Arts and Manufactures 

in 1835/36, and more generally on an analysis of 

the politico-aesthetic legacy of utilitarian philosophy, 

which began with a symposium on J.S. Mill 

which I led at Tate Britain in 2006, entitled ‘On 

Liberty and Art’. I have since delivered papers and 

lectures on this subject at Cambridge University, 

Bath Spa University, Jan Van Eyck Academy 

Maastricht, University College London and 

Yokohama National University, Japan. In an article 

for Journal of Visual Arts Practice (7:3) in 2008, I 

claimed that our current understanding of art and 

design knowledge and research, depends on the 

development of a unified art and design language 

within a political economic model of culture in 

the UK between 1832 and 1852. The effect this has 

had on the subsequent evolution of art and design 

knowledge, research and the identity of the 

creative subject, is dealt with in my chapter in the 

pan-European publication Handbook of ArtsBased 

Research. This chapter is part of a continuing 

engagement with a Freudo-Lacanian framework 

for arts-based research, an issue that I have also 

explored in an AHRC-funded collaborative 

doctoral training programme with Brunel University, 

and as a member of an AHRC network 

programme developed by the Institute of 

Advanced Study at Birkbeck. The final conference 

of the AHRC doctoral training programme at 

Chelsea College of Art in 2007, included speakers 

drawn from the fields of clinical psychoanalysis, 

the humanities and art and design. As part 

of the AHRC network programme at Birkbeck, 

I have produced symposia, an exhibition and 

publications with Dr Sharon Kivland from 

Sheffield Hallam University, based around a 

reading of Jacques Lacan’s Seminar XVII. I also 

lead the ‘Agendas’ research initiative at


Wimbledon College of Art, which is primarily 

concerned with the study of art and design speech 

and language, and with the cultural and political 

aspects of art and design activity. 


PubliShed bookS 

2005 co-authored with dr danny noubus, knowing nothing, 

Staying Stupid: elements for a Psychoanalytic 

epistemology. routledge: london. 

Selected eSSayS and articleS 

2009 ‘education Practice at tate 1970 – Present’, online 

essay for tate encounters. 

2009 ‘critique conscious and unconscious: listening to the 

barbarous language of art and design’, in Journal of 

visual arts Practice, 7.3. 

2007 ‘Practice-led research and the engagement with 

truth’, in reflections on creativity: exploring the role of 

theory in creative Practices. duncan of Jordanstone 

college, dundee university. 

2007 catalogue essay for ost Property at danielle arnaud 

Gallery. 

2006 ‘the whole world+the work: questioning context 

through practice-led research.’ working Papers in art 

and design, vol.4 (online peer-reviewed journal), 

hertfordshire university. 

2004 with dr naren barfield, ‘research as a mode of 

construction: engaging with the artefact in art and 

design research.’ working Papers in art and design, 

vol.3 (online peer-reviewed journal), hertfordshire 

university. 

2003 ‘teamwork and the knowledge base: doctoral Study 

and design research’ in Proceedings of the third 

doctoral education in design conference, Japanese 

academy of Sciences, 2003. 


2006 Psychoanalysis and the arts and humanities, iGrS 

birkbeck university of london (with Sharon kivland), 

curated exhibition. 

2004 text+work (with kieran crowder), the arts institute at 

bournemouth, included the joint exhibition of paintings 

by kieran crowder and a text by malcolm Quinn, with a 

presentation by both exhibitors, a published text and 

associated website. 

2002 walk the Plank, Gulbenkian Galleries, royal college of 

art, work by tutors in the design Products course at the 

royal college of art. 


PaPerS 

2009 ‘the chamber of horrors: art education and mass 

culture’, cambridge university Faculty of education. 

2008 ‘on liberty and art’, Jan van eyck academie 

maastricht. 

2008 keynote address: ‘occupying the totalitarian 

imagination’, at evicting the Ghost, romanian cultural 

institute. 

2008 keynote address: ‘creative cohesion and Social impact 

1835–2008’, at creative Scholars conference, tate 

britain. 

2008 Plenary address at the art of Giving: the artist in 

public and private funding, tate britain, london. 

2008 ‘art Schools and the Pedagogy of capital’, at doctoring 

Practice conference, bath Spa university. 

2008 ‘art history and the art School: capitalism, Pedagogy 

and Superstition’, at art history and the art School, 

ruskin School of drawing and Fine art. 

key committee and Panel memberShiPS 

2008 Peer reviewer, eSrc. 

2008 member, ahrc panel for research leave. 

2004 appointed member of ahrc Peer-review college.

Quinn malcolm 

malcolm Quinn and dany nobus, knowing nothing Staying 

Stupid, routledge, 2005 

133

134 

tulloch carol 

reader 

Biography Carol Tulloch is Reader in Dress and 

the African Diaspora at Chelsea and Camberwell. 

She is a member of the Transnational Art, 

Identity and Nation research centre (TrAIN), and 

is affiliated to the Research Department at the 

Vistoria & Albert Museum (V&A). She was 

principal investigator of the Dress and the African 

Diaspora Network (2006–07), an international 

endeavour to develop critical thinking on the 

subject. 

Tulloch has written and curated exhibitions on 

dress and black identities, style narratives, cross 

cultural and transnational relations and cultural 

heritage. Additionally, her research reviews 

historical ‘truths’ to present alternative perspectives 

on the black body, dress and place. These 

issues were considered in publications such as: 

Out of Many, One People’?: The Relativity of Dress, 

Race and Ethnicity to Jamaica, 1880–1907 (1998), 

My Man, Let Me Pull Your Coat to Something: 

Malcolm X (2001), and Strawberries and Cream: 

Dress, Migration and the Quintessence of Englishness 

(2002), Black Style (editor, 2004), Interconnecting 

Routes: Networks, Dress and CriticalCreative Narratives 

(2007), Resounding Power of the Afro Comb 

(2008). Her exhibitions include Nails, Weaves and 

Naturals: Hairstyles and Nail Art of the African 

Diaspora, A Day of Record (2001), Tools of the Trade: 

Memories of Black British Hairdressing, (2001), Black 

British Style (2004), A Riot of Our Own (2008). 

Forthcoming work includes Being at Home: 

Familial Dress Relations and the West Indian Front 

Room (2009), Dress and the African Diaspora (editor, 

2010), and the exhibition The New Domesticity 

(2010). 


continues with the telling of selves through the 

dressed black body, which has progressed through 

the inclusion of narrative studies. This line of 

inquiry has shifted to understand how individuals 

negotiate this within diverse contexts – locally, 

nationally or internationally. Therefore the work 

has begun to include other groups with similar 

experience, and/or cultural collaboration, with 

people of the African Diaspora in order to develop 

a dialogue in the telling and place of individuals 

and groups. This has partly developed out of the 

AHRC funded ‘Dress and the African Diaspora 

Network’ which I co-ordinated from 2006–07. 

Material and visual culture remain central to this 

investigation, but a wider range of media beyond 

my usual focus of garments, accessories and 

photography are now being used. This 

exploration is being conducted through writing 

and curating. 



Principle investigator for the ‘dress and the african diaspora 

network’ which was part of the ahrc initiative 

diasporas, migrations and identity: research networks 

and workshops Scheme (completed december 2007). 


2009 ‘resounding Power of the afro comb’ in cheang, S. 

and biddle-Perry, G. (eds) hair: Styling, culture and 

Fashion, oxford, new york: berg. 

2008 a riot of our own, editor, london: chelsea Space. 

2007 ‘interconnecting routes: networks, dress and criticalcreative 

narratives’, in elke aus dem moore (ed.) les 

histoires communes: kunst und mode. kleidung als ort 

der Selbsterfindung, Stuttgart: künstlerhaus. 

2006 ‘altered States: Susan Stockwell in crafts’, in the 

magazine of contemporary craft, #198. 

2005 ‘Picture this, the black curator’, in littler, J. and 

naidoo, r. (eds), the Politics of heritage, the legacies of 

race, london, new york: routledge. 

2004 black Style, editor, london: victoria & albert 

Publications.

tulloch carol 


2008 a riot of our own, exhibition, chelsea Space, london, 

2004–06 co-curator black british Style, victoria & albert 

museum, london (touring: manchester art Gallery; 

cartwright hall art Gallery, bradford; new walk 

museum and art Gallery, leicester; birmingham museum 

and art Gallery 

2002 Picture this: representations of black People in 

Product Promotion, black cultural archives Gallery. 

Selected lectureS/talkS 

2009 ‘we too Should walk in the newness of life: Style 

narratives of the african diaspora’, for the ‘ethnic 

costumes and non-material cultural heritage 

Preservation’ panel at 16th international congress of 

anthropological and ethnological Sciences, kunming, 

china. 

2009 ‘Style-Fashion-dress; From “black” to “Post-black”’, 

at Fashioning diasporas conference, victoria & albert 

museum, london. 

2009 ‘“a riot of our own”: Style, “blackness” and new 

directions’, at Subculture and Style conference, Fashion 

institute of technology, new york. 

2007 ‘what next? a researcher’s thinking around Future 

Projects’, university of brighton, School of historical and 

cultural Studies evening lecture series. 

2006 ‘Fashionable marks on black identities,’ at South 

african Fashion week Seminar Series, Sandton 

convention centre, Johannesburg. 


2009 ‘rock against racism 1979–1981’ at metanational: 

re/Postitionierung – critical whiteness/Perspectives of 

color, neue Gesellschaft fur bildende kunst, berlin. 

2008 ‘what’s the connection? dress as auto/biography in 

the Jamaican memories and the Shelton Family 

archives’, at keeping up appearances: dress & auto/ 

biography, auto/biography Study Group christmas 

conference. 

2008 ‘connecting the dots: networks on dress and the 

african diaspora’, for the conference panel ‘dress and the 

african diaspora network, a transnational research 

collective’ at the networks of design, design history 

annual conference, Falmouth. 

2007 ‘take a researcher like me: dress, black identities 

and the autobiographical/i’, at belonging in britain, new 

narratives/old Stories: race, heritage and cultural 

identity symposium, university college Falmouth. 

2007 ‘me and thee: reflections of a black british researcher 

of dress, the aesthetic Self and the african diaspora’, at 

the annual auto/biography conference, trinity college, 

dublin. 

135


dress and the african diaspora: tensions and Flows, 

international symposium. 

victoria & albert museum, london, 27–29 September 2007. 

Part of the ahrc funded dress and the african 

diaspora network.

tulloch carol 

design of ‘comb’ (uSd217996), submitted by 

Samuel h. bundles and henry m. childrey 

to the united States Patent office 4 april 1969. 

a patent was granted 7 July 1970. 

137


clare chona, fashion designer based in zambia, 

‘freehand’ drawing a design as part of the Fashion 

and textiles workshop of the interaction networking 

event on cultural heritage, livingston, zambia, 2005.

cushion cover hand and machine sewn 

by mrs Gloria bennett, doncaster, 

South yorkshire, 1960s. 

tulloch carol 

the cushion cover was commissioned by 

alfred tulloch as a present for his 

mother’s front room in brixton, london. 

the item is now seen as significant 

material evidence of the kind of ‘west 

indian aesthetic’ that defined the west 

indian front room of caribbean homes 

in the 1960s and onwards. the cushion 

was featured in the exhibition the west 

indian Front room: memories and 

impressions of black british homes, 

held at the Geffrye museum, 2005–06, 

curated by michael mcmillan. the 

cushion also features in the essay ‘dress 

it right’ by carol tulloch in the 

forthcoming publication the Front 

139 

room: migrant aesthetics in the home 

(edited by michael mcmillan). the 

domestic craft that was applied to this 

cushion by mrs bennett, a Jamaican 

migrant to britain in 1961, has also 

been an inspiration for the forthcoming 

exhibition on issues around ‘new 

domesticity’, at the women’s library, 

london, co-curated by carol tulloch 

and Gail cameron.


limited edition ‘afro Pick t-shirt’, 

2004, designed by david hisa. 

the t-shirt was commissioned by the 

Studio museum in harlem to 

underwrite the identity of the museum. 

the black Fist afro Pick and the word 

‘beautiful’ were chosen because of 

‘their iconic status in the community – 

black is beautiful, black Power, black 

hair are harlem’, ali evans, Pr 

manager and editor at the Studio 

museum in harlem. the garment has 

partly inspired two research projects: 

carol tulloch’s current research on 

issues of terminology, notably when and 

how to use the terms ‘african diaspora 

fashion’ and ‘black style’, particularly 

within the context of what ‘black’, 

‘blackness’ and Post-black currently 

mean. what is the cultural meaning of 

this t-shirt? is this an example of 

diaspora fashion or the component of a 

style narrative? carol will consider such 

issues in the forthcoming ‘dress and the 

african diaspora’, a special issue of 

Fashion theory: the Journal of dress, 

body and culture, for which she is 

editor.

a riot of our own, exhibition, chelsea 

Space, london, 2008. 

this exhibition was an archival 

narrative on the rock against racism 

(rar) movement, 1976–81. it is told 

through the personal archive of ruth 

Gregory and Syd Shelton, who were 

rar (london) committee members. 

their intuitive act of keeping, rather 

than collecting, this material is ‘a form 

of self-historicisation’. a riot of our 

own was inspired by the concept of 

‘self-archiving’ – an exploration of 

one’s own history through a re- 

tulloch carol 

acquaintance with, and re-assemblage 

of, the objects held in a personal 

archive. this was a collaborative 

curatorial project between Syd, ruth 

and curator carol tulloch. as ‘selfarchivists’ 

ruth and Syd wanted to 

convey an idiosyncratic interpretation 

of what rar was. carol provided 

objectivity and curatorial perspectives 

in order for the pair to explore this. 

therefore, the exhibition sets the 

personal recollections, ‘function and 

storage memory in relation to one 

another’ to present the individuals and 

groups who were united against racism 

through the amalgamation of reggae 

and punk music, technology and dress 

styles. 

141 

most recently carol tulloch presented 

a joint paper with Syd Shelton on rar 

and a riot of our own, exhibition at 

re/Positionierung: critical whiteness/ 

Perspectives on color lecture series 

organised by metanationale at neue 

Gesellschaft für bildende kunst, berlin 

2009, and in their forthcoming 

publication.

142 

FranciS mary anne 

Fellow 

Biography Dr Mary Anne Francis is a Fellow at 

Chelsea and an artist, writer, teacher and 

researcher. After a BA in English at University 

College London, she completed the BA in Fine Art 

and Critical Studies at Central Saint Martins 

College of Art and an MA in Culture Communication 

and Society at Goldsmiths, where she 

also undertook her PhD in Fine Art. Her PhD 

explored the idea of a radically diverse art-practice 

in excess of post-structuralist conceptions of 

diversity and difference. 

As a writer she has published widely – in the early 

1990s reviewing the emerging YBA scene for 

magazines such as Art Monthly and Untitled and 

more recently, publishing around research 

interests such as open source culture, collaboration, 

and the question of how an artist might 

approach the task of writing. Work as an artist 

has purposely pursued multifarious forms: for 

instance, interactive art (the ‘Part Art’ range), 

collaboration (with the Critical Practice research 

group), public art (e.g. Platform for Art at 

Piccadilly Circus), and curatorial forms: Mary 

Anne Francis: Group Show at Beaconsfield. 

As a teacher she has worked in various artschools. 

She is currently Senior Lecturer on the 

Critical Fine Art Practice BA at the University of 

Brighton. 

researCh statement In my role as Research 

Fellow in Writing and Art at Chelsea College of 

Art and Design, I am currently addressing the 

question: ‘what is an artist’s writing?’ Work here 

explores the premise that an artist productively 

approaches the act of writing differently from say, 

an art-historian or art-theorist. I am particularly 

interested in writing as aesthetic practice, and as 

fiction, and the implications of this for writing as 

cognition. Publications in this terrain include 

both instances of such a practice e.g. ‘In the Café 

Flaubert’ – a fictional, philosophical dialogue – 

and reflections on the area: e.g. ‘Creative 

Knowledge: on the value of “Situational Fiction” 

in an artist’s writing’ (which maybe recursive). 

Other initiatives have focused on the spoken 

word in the spaces of art education – for example, 

The ‘Art Lectures’ at the University of Brighton, in 

which guest speakers variously addressed ways in 

which their ‘lectures’ may or may not be art, and 

my presentation to Writing Encounters – ‘Art and 

the Value of Fictional writing’ – delivered by a 

lecturer equivocally acting the part. 

This interest in the space between, and including, 

pairs of terms in culture also characterises my 

other main research interests. Ongoing work in 

the theory and practice of ‘post-autonomy’ 

addresses art that seeks to mesh with social life 

and everyday cultural forms and yet has a residual 

dependence on art’s autonomy. (See Dirty Work: 

Art Beyond Autonomy and my Part Art brand which 

plies the gap between high art and functional 

commodity.) ‘Post-autonomy’ also describes 

collaboration as prefers social to individual 

authorship; publication here includes the paper 

for Sensuous Knowledge 5 reflecting on my work 

with the Critical Practice research group. 

Notions of the ‘space between’ also inform my 

work on ‘critique’ which recently entailed 

commissioning and guest-editing a collection of 

essays on the topic for the Journal of Visual Art 

Practice. My own contribution contended that the 

difference between writing and art-practice is 

structurally critical – an argument subsequently 

developed via Foucault for the symposium 

ArtWORK, CritiqueWORK.

FranciS mary anne 

However, in as much as the notion of spaces inbetween 

broadly thematises much of my activity, 

it is also set in the context of a concern with 

multifariousness as an interrogation of the 

politics of bounded ‘interests’. This continues 

work advanced by my PhD, The artist as a 

multifarious agent, which argued that only a 

thoroughly heterogeneous practice could 

adequately acknowledge the radical contingency 

of subjectivity. 



2004 Stall, commissioned by the Financial Services 

authority, london. 

2002 unsorted, e1 gallery, london. 

2002 covers – a poster series of photographic work, 

Platform for art, Piccadilly circus Station. 

2000 mary anne Francis: Group Show, beaconsfield, 

london. 


2008 art of research: research narratives Symposium 

exhibition, chelsea college of art & design, london. 

2008 Farmers’ market with handel Street Projects, london. 

2008 For those killed in ambush, hold and Freight, london. 

2006 would Silence the apology, 35a Gallery, brighton. 

2005 ‘the blooming commons’ at tate britain as part of 

open congress. 

2004 bloomsbury blooms, St George’s chapel of rest, 

bloomsbury, london. 

2003 the book Show, the nunnery, london and the 

wordsworth trust, lake district. 

other Selected art ProJectS 

2009 ‘art and the value of Fictional writing’, lecturedemonstration 

for the art lectures, Sallis benny theatre, 

university of brighton. 

2007 market-stall as artwork, as part of the really Super 

market, middlesbrough institute of modern art. 

2002 the Faust Supplement, variety Press. 

and many collaborative activities with the research cluster, 

critical Practice, including, ‘beyond the Free market’, 

‘between’ at South london Gallery, and Future archive. 

(www.criticalpracticechelsea.org/modules/wiwimod) 

mary anne Francis, abstract ‘in the café Flaubert’ – 

article published in Journal of writing in creative 

Practice, vol.1.2, 29.7 × 21 cm, 2008 

143 

mary anne Francis, slide from keynote address ‘art as 

research: a Glossary of terms’ to the artistic research 

conference at iceland academy of the arts, reykjavik Screen 

shot from website, 2008


Selected articleS 

2009 ‘a theory of critique. in Practice: Practice as critique’, 

in Journal of visual arts Practice, 7.3. 

2009 Guest editor for Journal of visual arts Practice, 7.3, 

themed edition on ‘critique’, contributors: mary anne 

Francis, yve lomax, Suhail malik, malcolm Quinn, John 

roberts, michael Schwab, marina vishmidt. 

2008 ‘in the café Flaubert’, in Journal of writing in creative 

Practice, vol.1.2. 

2007 ‘dirty work: art beyond “autonomy”’, in Journal of 

visual art Practice, vol.6.1. 

2006 edited ‘open congress’ section in media mutandis: 

surveying art, technologies and politics, node.london. 

also contributed introduction to section, and article, 

‘open Source Fine art: infinities of meaning for an age of 

finite means’. 


2008 art of research: research narratives symposium at 

chelsea college of art and design, co-organiser and 

co-chair. 

2008 ‘art as research: a Glossary of terms’ to artistic 

research conference, keynote lecture, iceland academy 

of the arts 

2008 ‘From Problem to Problematic: collaborative art 

Practice as research: discussion of aesthetic Quality in 

working Process’, for Sensuous knowledge 5 – 

Questioning Qualities conference, bergen academy of 

the arts, norway. 

2008 ‘art and the value of Fictional writing’ a lecturedemonstration 

for the writing encounters symposium, 

york St John university. 

2008 ‘myself and i: not her’, for kelly large’s me, myself 

and i, at walsall new art Gallery. 

2007 ‘Systems: art and collaboration’, for Systems art at 

the whitechapel art Gallery, london. 

2007 ‘collaborative art Practice and research in the art 

School’, for Future reflections, chelsea college of art 

and design, london 

2005 ‘open Source Fine art’, a presentation on the artwork 

‘the blooming commons’. the presentation was part of 

open congress at tate britain. 

2005 ‘what work does the work of art do?’, a demonstration 

at what work does the work of art do? 2. 


2008 with hayley newman, cliP-cetl award, university 

of the arts london, for researching widening 

Participation at Phd level study. 

2005 Project lead with Saul albert and lewis Sykes in 

receipt of arts council england funding for book 

publication media mutandis: Surveying art, technologies 

and Politics. 

2002 arts and humanities research board: Small Grant in 

the creative and Performing arts. 

editorial PoSitionS and examinerShiPS 

2009 appointed external examiner ma Fine art, Glasgow 

School of art. 

2009 external assessor for Phd confirmation, norwich 

university college of the arts. 

2004 appointed to the e.ditorial board of the Journal of 

visual arts Practice.

o’riley timothy 

Fellow 

Biography Tim O’Riley is a Fellow at Chelsea. 

He studied painting at Leicester Polytechnic and 

went on to complete his MA in Fine Art at Chelsea 

College of Art and Design. He subsequently 

gained a PhD at the college in 1998, looking at 

optical, perspectival and filmic space in relation 

to new technologies. O’Riley has taught at Chelsea 

since the mid-1990s and was awarded an AHRC 

fellowship in 2004. He has exhibited across 

Europe and the USA at venues including PS1, New 

York; Fundação Calouste Gulbenkian, Lisbon; 

Centre d’Art Contemporain, Geneva; Science 

Museum, London; Birmingham City Museum and 

Art Gallery; Walker Art Gallery, Liverpool. Recent 

publications include Acts of seeing (Kaniari, A., 

Wallace, M. (eds), London: Zidane Press, 2009), 

Accidental Journey (London: Ponsonby Press, 2009); 

Thinking Through Art: Reflections on art as research 

(Macleod, K., Holdridge, L. (eds), London: 

Routledge, 2005). 

researCh statement Rooted in my interest in 

the overlapping spaces between art, science and 

literature, I have developed an eclectic working 

practice that explores relationships between 

technology and subjectivity, fact and fiction and 

between the still and the moving image. 

My work centres around computer technology – 

specifically modelling and animation – but is 

informed by an underlying interest in painting, 

photography and writing. Over the past few years, 

I have been visiting and documenting various 

scientific establishments in Europe and the USA, 

combining a reasoned approach to science and its 

history with one in which serendipity and 

speculation play an equally significant part. 

Recent projects have been spurred on by a chance 

encounter with a memento from the Apollo 11 

lunar mission, a small Irish flag which had 

145 

travelled aboard the historic spacecraft and which 

resides at an observatory near Dublin. This 

prompted research into various fictional journeys 

to the moon stretching back almost 2000 years, 

the more recent history of the space race and the 

lives and opinions of astronaut Michael Collins 

and Sir William Rowan Hamilton, Astronomer 

Royal of Ireland from 1827–65, who lived for 

much of his life in the building where the flag 

eventually ended up. In the light of this serendipitous 

encounter, I have recently completed 

a 118-minute animation of a real-time orbit of the 

moon together with an artist’s book bringing 

together some of the material I have found 

relating to the observatory, lunar exploration and 

fictional, imaginary journeys. 

(www.timoriley.net) 



2002 three Places at once, Galerie olivier houg, lyon, 

France. 

2001–02 Flipside, houldsworth, london. 


2009 Pontos de contato, universidade Federal do rio Grande 

do Sul instituto de artes, Porto alegre, brazil. 

2005 Paramours, art 45, biennale de lyon, lyon. 

2004 do Something, Floating iP, manchester. 

2003 now Showing, houldsworth, london. 

2003 Signatures of the invisible, PS1 contemporary arts 

centre, new york, uSa. 

2003 Precise modern order, rubicon Gallery, dublin. 

2002 contents, briggs robinson Gallery, new york, uSa. 

2002 head on: art with the brain in mind, Science museum, 

london. 

Selected ScreeninGS 

2007 ami, mullard radio astronomy observatory, university 

of cambridge. 


2009 accidental Journey, london: Ponsonby Press. 

2009 acts of seeing: artists, scientists and the history of the 

visual (a volume dedicated to martin kemp), kaniari, a., 

wallace, m. (eds), london: zidane Press.


2009 reflections and connections, nimkulrat, n., o’riley, t. 

(eds), helsinki: university of art and design helsinki. 

2006 ‘an inaudible dialogue’, in working Papers in art and 

design, #4. 

2005 thinking through art: reflections on art as research, 

macleod, k., holdridge, l. (eds), london: routledge 

(chapter: ‘representing illusions’). 

2005 ‘Pioneers in art and Science: art, Poetry and Particle 

Physics’, mcmullen, k., berger, J., london: arts council 

england. 

2002 ‘head on: art with the brain in mind’ (additional text 

by curators marina wallace, ken arnold and caterina 

albano), london: Science museum. 


2008 ‘the other world’ at eva, british computer Society, 

london. 

2005 ‘Parallel Spaces’ at connected Space, mcdonald 

institute for archaeological research, university of 

cambridge. 

tim o’riley, clementine, hd1080 animation, 118 min, 2009 

tim o’riley, the irish flag which travelled onboard apollo 11 

(photographed at dunsink observatory), inkjet print, 

37.5 × 50 cm, 2005

Salter rebecca 

Fellow 

Biography Rebecca Salter is a Fellow at 

Camberwell. She was born and educated in the 

UK and after studying for a BA in Three 

Dimensional Design at Bristol Polytechnic, spent 

two years as a research student at Kyoto City 

University of Arts, Japan. She lived in Japan for 

a further four years and was taught Japanese 

woodblock by Professor Kurosaki Akira. Salter 

continues to research and teach the technique. 

She has published two books on the subject: 

Japanese Woodblock Printing (2001) and Japanese 

Popular Prints (2006). 

In 2008 Salter completed an archive of filmed 

interviews with craftsmen involved in Japanese 

woodblock – carvers, printers, brush makers, tool 

makers, etc. The films are to be edited and made 

available for future research. 

rebecca Salter, untitled rr21, 

mixed media on linen, 110 × 96 cm, 2009 

147 

In her own practice Salter is working towards a 

show at the Yale Center for British Art in 2011 and 

one person shows in London and New York. 

researCh statement My painting, both in the 

way it is produced and the way it is perceived, is 

influenced by a meditative tradition which is 

widely considered to have its origins in oriental 

culture. Investigation of the qualities of the drawn 

line is central to my work, especially in relation to 

the creation of an ambiguous pictorial space. 

I am currently a member of the Forgotten 

Japonisme research group attached to the 

Transnational Art Identity and Nation (TrAIN) 

research centre. My particular interest is the 

American anthropologist Frederick Starr and his 

links with Japan and the senshafuda (votive slips) 

tradition. 

rebecca Salter, untitled mm24, 

mixed media on paper, 99 × 108 cm, 2008




2007 howard Scott Gallery new york, uSa. 

2006 bliss of Solitude, beardsmore Gallery, london, uk. 

2004 howard Scott Gallery new york, uSa. 

2002 hirschl contemporary art, london, uk. 


2008 drawing Gallery, Shropshire. 

2007 Fils de..., Plouec de trieux, France. 

2006 drawing inspiration, abbot hall Gallery, cumbria. 

2005 yale center for british art, new haven, uSa. 

2003 untitled, work on paper, hirschl contemporary art, 

london. 

2002 working the Grid, lafayette college, easton 

Pennsylvania, uSa. 


2006 Japanese Popular Prints – From votive Slips to Playing 

cards, a&c black ltd / university of hawaii Press. 

Selected reSidencieS and commiSSionS 

2008–09 artwork commission, main entrance, St George’s 

hospital, tooting london. 

2003 artist in residence, Josef and anni albers Foundation, 

uSa.

Salter rebecca 

rebecca Salter, St George’s hospital, tooting, main entrance artwork, 

recycled glass, bamboo panel, led lighting, 25 m, 2008–09 

149

150 

Sandino linda 

Fellow 

Biography Linda Sandino is the Camberwell 

College of Arts / Victoria & Albert Museum 

(V&A) Senior Research Fellow in Oral History 

working on curators’ life histories at the V&A 

Museum. Previously she completed over 50 

extensive life history recordings for the British 

Library National Life Stories at the British Library 

National Sound Archive interviewing artists, 

architects, craftspeople, curators and designers 

including David Queensberry, Peter Blake, 

Peter Collingwood, Terence Conran, Rodney 

Fitch, Catherine Lampert as well as the founders 

of the design group Pentagram. In 2005 she 

was a selected participant at the Advanced 

Summer Institute of the Regional Oral History 

Office at the University of California at 

Berkeley. At Camberwell, she has set up the 

Voices in the Visual Arts oral history project 

(VIVA, www.vivavoices.org) and is currently 

also the Design History Society’s Oral History 

Project Officer. 

She has supervised two PhDs to completion 

and is an experienced External Examiner of 

BA and MA Level courses, as well as PhD. 

researCh statement I am currently working 

on an oral history of curatorial practices at the 

Victoria & Albert Museum (V&A) over the last 

thirty years, a period in which the Museum has 

undergone significant structural changes. Using 

life history work as the methodological approach, 

the research seeks to document how curators 

perceive the meaning and function of their roles, 

the place of scholarship within museums, the 

creation of expertise which curatorial work 

fosters within the specific context of the V&A 

collections covering the applied arts of Europe 

and Asia. 

Life history, as a branch of oral history, provides 

the opportunity for collecting data but the 

methods of narrative research enable one to map 

the meaning-content of narratives as stories of 

expertise which lead to the broader question of 

what institutions means and how it is constructed 

in the dialogic context of oral history recordings. 

My oral history work has always been based on 

audio recordings leading to exploration of how 

specific forms of inscription (audio, visual, 

textual) as technologies construct their narratives 

and how individuals collude with media forms; as 

the sociologist Anthony Giddens remarked in 

Modernity and the Self (1991), ‘… the media do not 

mirror realities but in some part form them’. 

Finally, however, life history interviewing is a 

form of auto/biographical research that elicits 

stories of the self and how that self is made in 

stories. So rather than focussing only on questions 

of when, how, where, life histories ask about the 

‘who’ of their narratives. Furthermore, oral 

history is an ethical practice that engages with the 

problem of confronting otherness and sameness. 

This part of my research draws on the work of the 

philosopher Paul Riceour whose major areas of 

concern map my own: narrative, identity, the 

relationship between history and fiction, and the 

ethics of encounter. 



2010 [forthcoming] ‘artists-in-progress: narrative identity of 

the Self as another’, in hyvärinen, m.k. (ed.) beyond 

narrative coherence, amsterdam: John benjamins. 

2009 [forthcoming] ‘news from the Past: oral history at the 

v&a’, v&a online Journal. 

2009 ‘museum lives and museum Stories: oral history in 

museums’ (paper), with anna kiernan, kingston 

university, mGhG museums and biographies conference, 

the national Gallery, london.

Sandino linda 

2009 ‘taking time’, in making a Slow revolution. 

2007 ‘crafts for crafts Sake’ (essay), in aynsley, J., Forde, 

k. (eds), design and the modern magazine, university of 

manchester Press. 

2006 Journal of design history, special issue: ‘oral histories 

and design’, editor and author. 

2006 interviews, Fashion lives, the british library, london 

(exhibited life stories of John church, angus cundy, 

leslie russell, Percy Savage, and lily Silberberg). 

2005 catalogue essay, ‘Freddie robins’, in revealed: 

nottingham’s contemporary textiles, an exhibiton of the 

museum’s collection. 

2004 co-editor and author, Journal of design history, vol.17, 

#3: ‘dangerous liaisons: relationships between design, 

craft and art’ and ‘here today, Gone tomorrow: 

transient materiality in contemporary cultural 

artefacts’. 

2002 ‘Studio Jewellery: mapping the absent body’, in the 

Persistence of craft, Greenhalgh, P. (ed.), london/new 

brunswick: a&c black/rutgers university Press. 

Selected conFerence contributionS 

2009 ‘listen to yourself! technology, voice and the Self’ 

(paper), oral history Society conference, hearing voice 

in oral history, university of Strathclyde, Scotland. 

2009 ‘curatocracies: an oral history of curatorial Practice 

at the victoria & albert museum’ (paper), oral history 

association conference, moving beyond the interview, 

louisville, kentucky, uSa. 

2009 ‘research cultural work and creative biographies 

workshop’ (paper), eSrc centre for research on Sociocultural 

change, open university. 

linda Sandino, 

[viva] voices in the visual arts, 

oral history projects, 2009 

151 

2008 ‘visual and/or oral narratives’ – paper presented at 

the cnr/lSe Gender institute. 

2008 ‘audience memories and oral histories’ (paper), 

presented at rethinking archives workshop, arnolfini 

Gallery, bristol / university of west of england / ahrc. 

2008 co-convenor, in the Fold: arts and narrative, centre 

for narrative research, university of east london/ 

international centre for Fine art research, university of 

the arts london. 

2008 ‘talking Pictures: Sound and image in oral history’ at 

oral history – a dialogue with our times, international 

oral history association conference, university of 

Guadalajara, mexico. 

2005 ‘From objects to Subjects’ (paper), Show &tell: 

relationships between text, narrative and image 

conference, university of hertfordshire.

152 

Biography Julian Stair is a Fellow at Camberwell 

and a potter and writer. He has exhibited internationally 

over the last 28 years and has work in 

over twenty public collec tions including the 

Victoria & Albert Museum (V&A), British Council, 

American Museum of Art & Design, Hong Kong 

Museum of Art and the Boymans Museum, 

Netherlands. In 2004 he was awarded the European 

Achievement Award by the World Crafts 

Council and received a Queen Elizabeth Scholarship 

to research the making of monumental 

ceramics at Wienerberger’s brick factory in 

Sedgley. Last year the Art Fund pur chased Monumental 

Jar V for Middlesbrough Insti tute of 

Modern Art. He was as Deputy Chair of the Crafts 

Council after eight years as a trustee and a period 

as Interim Chair in 2005–06. 

In 2002 he completed a PhD at the Royal College 

of Art researching the critical origins of English 

studio pottery. He is a regular contributor to craft 

journals and has convened several conferences. 

He is a member of the research centre Transnational 

Art, Identity and Nation (TrAIN) and 

also a core member of the major new ARHC 

funded project ‘Forgotten Japonisme’. He has 

recently written an essay on Omega pottery for 

the exhibition Beyond Bloomsbury: Designs of 

the Omega Workshops 1913–19 at the Courtauld 

Institute of Art, 2009. 

researCh statement 

Stair Julian 

Fellow 

Historical 

I am currently researching Japonisme in English 

studio ceramics 1910–40 as part of the ‘Forgotten 

Japonisme’ project. This has broadened out to 

include research on critical writing on ceramics 

in Japan during the Taisho period as part of a 

study to compare theoretical developments in 

both countries. 

Practical 

My practice based research exploring two major 

themes. The first is the relationship of ceramics 

and architecture through the making of pots and 

site specific ceramic plinths or ‘grounds’. The 

second area examines the containment of the 

human body in death through the making of 

funerary ware from cinerary jars for cremated 

remains to sarcophagi for burial. 



2006 out of history i, Galerie heller, heidelberg, Germany. 

2005 the artist’s house, installation, new art centre, 

Salisbury, uk. 

2005 terra keramik, delft, netherlands. 

2004 collect, victoria & albert museum, london, uk. 

2002 egg, london, uk. 

2001 contemporary applied arts, london, uk. 


2009 keramik aus Großbritannien, bayerischer 

kunstgewerbe- verein, munich, Germany. 

2009 cup, devon Guild of craftsmen, devon, uk. 

2009 teFaF maastricht, belgium, ned. 

2009 work exhibited at international expositions of 

Sculpture objects & Functional art (SoFa), Park avenue 

armory, new york, uSa. 

2009 collect, Saatchi Gallery, london, uk. 

2009 work exhibited at eunique: world crafts councileurope 

award for contemporary crafts from 1992 until 

today, wcc, karlsruhe, Germany. 

2008 Joanna bird, browse & darby, cork Street, london. 

2008 inspirations, conran (london, new york, Paris, tokyo). 

2008 cup, contemporary applied art, london, uk. 

2008 monumental Jar v exhibited at material culture: 

recently Gifted works, middlesbrough institute of 

modern art, middlesbrough, uk. 

2008 collecting a kaleidoscope, designed and made Gallery, 

newcastle, uk. 

2008–09 monumental Pots, victoria & albert museum. 

2008 designart london, berkeley Square, london. 

2007–12 after life, manchester museum egyptian Galleries, 

manchester. 

2005 modern Pots – ceramics from the lisa Sainsbury 

collection, dulwich Picture Gallery, london 

2005 Functional Form now, Galerie besson, london. 

2005 celebrating 30 years, victoria & albert museum, 

london, uk.

Stair Julian 

2005 meister der moderne, munich, Germany. 

2004 master & Pupil, clay, los angeles, uSa. 

2004 everything but: contemporary english kitchenware, 

british council touring show (Singapore, Sri lanka, 

thailand, indonesia, bandung, Jakarta). 

2004 making it yours, crafts council, london. 

2003 highlights englischer keramik, hetjens-museum, 

dusseldorf, Germany. 

2003 2nd world ceramic biennale, Seoul, korea 

2003 beauty through use, yufuku Gallery, tokyo & art Salon 

kogen, nagoya, Japan. 

2003 Slipped by design, browse and darby, london. 

bookS 

2000 the body Politic: the role of the body and 

contemporary craft, editor, london: crafts council. 


2009 uk entry for the crafts council at the european 

triennial of ceramic and Glass, Site des anciens 

abattiors, mons, belgium. 

Selected PublicationS and PaPerS 

2009 ‘collecting objects’, in collect: the international art 

Fair for contemporary objects, london: crafts council. 

2009 ‘omega’, in american craft, September. 

2009 ‘the employment of matter: Pottery of the omega 

workshop’, in Gerstein, a. (ad.) beyond bloomsbury: 

designs of the omega workshop 1913–1919, london: 

the courtauld Gallery & Fontanka. 

2005 ‘ruth duckworth retrospective’, in art in america, 

august/September. 

2005 ‘extended inhumation: contemporary Funerary ware’ 

(conference paper) at death, dying and disposal of the 

body 7, university of bath. 

153 

2005 ‘context & consequence: Shoji hamada and early 

english Studio Pottery’ (conference paper), 

revisioning reality: international Japonisme, new york 

university, uSa. 

2005 ‘when east Shapes west’ (conference report), 

Japanese ceramics: cultural roots and contemporary 

expressions, harvard, boston, in crafts, #192, January/ 

Feburary. 

2004 ‘Japanese modernisation & mingei theory’, by yukiko 

kikuchi, book review, in crafts, #191, november/ 

december. 

2003 ‘rational Primitives’, feature article on early english 

studio ceramics and modernism, in crafts, #180, 

January/February. 

Selected memberShiPS oF ProFeSSional 

bodieS 

2008–09 deputy chair, crafts council. 

2008 editorial board member, interpreting ceramics 

research collaboration (icrc). 

2000– trustee, crafts council. 

Selected work in collectionS 

2009 one work (teapot on a Floating Ground), purchased 

by middlesbrough institute of modern art 

(middlesbrough, uk). 

2009 one group (teapot and Six cups of an asymmetrical 

Ground), purchased by victoria & albert museum. 

2008 one Fund purchase of monumental Jar v, purchased by 

middlesbrough institute of modern art. 

Julian Stair, monumental Jar v, 

purchased by the art Fund for middlesborough 

institute of modern art, 

reduced etruria marl, 

174 × 95 cm, 2008 

(photo by G. ribeiro, g2)

154 

velioS athanasios 

Fellow 

Biography Dr Velios is a Fellow at Camberwell. 

He studied art conservation at the Technological 

Educational Institute of Athens. In 2002 he 

completed his PhD at the Royal College of Art on 

the automatic reconstruction of fragmented 

objects using 3D computer models. He has been 

active in the field of Computer Applications to 

Conservation for many years developing computer 

software for conservation-related applications. 

Currently responsible for the digitisation of 

bookbindings and the condition survey at the 

library of the St. Catherine Monastery, he is also 

developing systems for the tracking and sorting 

books for storage in the same library. Velios has 

jointly received an AHRC grant for the development 

of a glossary of bookbinding terms using 

XML and is also the principle investigator for 

the AHRC funded project Reanimating John 

Latham through Archive as Event: the online 

archive of the artist John Latham based on the 

artist’s event structure theory. 

researCh statement My work combines two 

fields of study: conservation and computing. 

I am particularly interested in conservation documentation 

and how conservation records can be 

created semantically using current standards. 

I employ XML technologies for the digitisation 

of bookbinding descriptions, implemented 

through the development of a multilingual XML 

glossary in the form of an XML schema. I am 

interested in web technologies and am looking 

into producing an AJAX based Xform to create 

XML bookbinding records by combining other 

XML standards such as SVG and XSLT. 

I am also interested in colour management for 

conservation photography and digitisation. 

A recent development in my work is within the 

field of digital creative archiving, and, more 

specifically, John Latham’s work and online 

archive. 


awardS 

Principal investigator of ahrc funded project reanimating 

John latham through archive as event. 

co-investigator of ahrc funded project an english/Greek 

terminology for the structures and materials of byzantine 

and Greek bookbinding. 

conFerence PaPerS 

2009 ‘the repair and re-use of byzantine wooden bookboards 

in the manuscript collection of the monastery of 

St catherine, Sinai’ (with a. honey) at holding it all 

together conference on ancient and modern joining, repair 

and consolidation, british museum, london. 

2009 ‘archive as event: mitya’ (with a. hudek), at arliS 

2009 study day: archiving the artist, tate, london. 

2008 ‘“applying artists” methodologies to archiving: 

a case Study of John latham’s archive’, iS&t archiving 

2008, bern. 

2008 ‘collecting digital data on Paper’(with n. Pickwoad), 

in international conference of museology – technology 

for cultural heritage, vol.1, mitilini, Greece. 

2007 ‘digital reconstruction of Fragmented archaeological 

objects’ (with J. harrison), Studies in conservation, 

vol.52, 2007. 

2006 ‘the digitization of the Slide collection from the 

St catherine library conservation Project’ 

(with n. Pickwoad), iS&t archiving 2006, ottawa, may. 

2005 ‘current use and future development of the database of 

the St catherine’s library conservation Project’ 

(with n. Pickwoad), the Paper conservator, #29, 2005. 

2004 ‘digital reconstruction of fragmented artefacts: 

improved methods or capturing data’, the conservator, 

ukic, 2004.

velioS athanasios 

recording bookbinding techniques: Printed book, 1628, 

from the Saint catherine’s library, Sinai, egypt. 

155

156 

walSh maria 

Fellow 

Biography Dr Maria Walsh is a Fellow at 

Chelsea. After graduating from the Crawford 

College of Art & Design in Fine Art (Painting), 

Dr Maria Walsh undertook postgraduate study in 

the History and Theory of Art at Chelsea College 

of Art and Design, graduating in 1990. She taught 

as an associate lecturer on the BA Fine Art and 

the MA Art Theory at Chelsea from 1992–2001. 

During this time, Walsh completed an MA in 

Psychoanalytic Studies at Brunel University 

graduating with a Distinction. In 2000 she undertook 

PhD studies at Falmouth College of Arts, 

University of Plymouth, graduating in 2003. 

Her thesis Identityinmotion: The Narrative Duration 

of the Dis/continuous Film Moment focused on two 

films, Tacita Dean’s Disappearance at Sea and 

Chantal Akerman’s News From Home, to perform 

a dialogue on spectatorship using philosophy, 

psychoanalysis, and performative writing. 

Currently, Dr Walsh is a Theory Co-ordinator on 

the BA Fine Art course at Chelsea, and a Research 

Fellow of the Subjectivity & Feminisms research 

group, which she co-convenes with colleague 

Dr Mo Throp. 

researCh statement My current research is 

focused on theories of subjectivity in relation to 

moving image practices, i.e. artist’s film and video 

installation and experimental cinema. I am 

particularly interested in film moments where 

nothing much happens and in how these 

moments can be considered in terms of 

narrativity, affect and embodiment. Particular 

theoretical interests include: Gilles Deleuze’s 

writing on cinema and feminist re-workings of 

phenomenology, e.g. Elizabeth Grosz. I have 

published a number of peer-reviewed essays on 

these topics in journals such as Screen, Angelaki, 

Rhizomes, Refractory, and Senses of Cinema. 

I am interested in the interrelationship between 

critical theory and filmic narrativity. To this end, 

I am exploring methods and modes of writing – 

what might be called ‘performative writing’ or 

what I call ‘montage texts’. Some of this has been 

published in Senses of Cinema, /seconds, as well as 

being incorporated into catalogue essays on 

artists and filmmakers. My methodology is 

encapsulated in my text ‘The entranced spectator: 

A case of dispossession or Three Films: Lynne 

Ramsay’s Morvern Callar, Salla Tykka’s Lasso, and 

Maya Deren’s Ritual in Transfigured Time’, 

Cinematic Unfolding: The Furling and Unfurling of 

Images (Elavia, F. (ed.), Pleasure Dome: Toronto, 

2008). 

I also collaborate with Dr Mo Throp with whom 

I co-convene the Subjectivity & Feminisms 

research group at Chelsea. We have co-curated 

a series of visual art exhibitions on current 

mutations of the feminine in visual art practice, 

which explored how these mutations have 

transmogrified into postmodern concepts of 

‘animal’ and ‘hybrid’ subjectivity. The exhibitions 

Transmogrifications and Machinic Alliances were 

at Danielle Arnaud Contemporary Art in 2004 

and 2008 respectively. In November 2008 we 

organised a conference at Tate Britain entitled 

Close Encounters of the Animal Kind, which explored 

extensions of these ideas and included speakers 

such as Rosi Braidotti, Claire Colebrook and Jaki 

Irvine. One of our main research group activities 

is the performance dinner events, which we 

curate based on classic texts in feminist theory. 

To date we have performed Simone de Beauvoir’s 

‘The Second Sex’ and Valerie Solanas’s ‘S.C.U.M. 

Manifesto’.

walSh maria 


Selected exhibitionS and ProJectS 

2008 close encounters of the animal kind, symposium at 

tate britain, london, organiser and chair. 

2008 machinic alliances, co-curator and catalogue essay, 

danielle arnaud Gallery, london. 

2005–06 conversing – Subjectivity and Feminisms 

exhibition, broadsheet and symposium, chelsea college of 

art and design. 

2004 transmogrifications, co-curator, danielle arnaud 



2009 ‘real Screens in atom egoyan’s Speaking Parts’, in 

clarke, d. and crawford, v. (eds) moving Pictures/ 

Stopping Places: hotels and motels in Film, lexington: 

rowman. 

2008 ‘the entranced spectator: a case of dispossession or 

three Films: lynne ramsay’s morvern callar, Salla 

tykkä’s lasso, and maya deren’s ritual in transfigured 

time’, in extremes and excesses in Film and video, 

Pleasure dome: toronto. 

2008 ‘zizek, deleuze, and the Feminine cinematic Sublime’, 

in rhizomes, #16. 

2008 ‘the registration of the cinematic instant in Film 

installation’, in Spectator: Journal of Film and television 

criticism, vol.28,#2, university of Southern california. 

2008 ‘the double Side of delay: Sutapa biswas’, film 

installation birdsong and Gilles deleuze’s actual/virtual 

axis’, in refractory, vol.14. 

2007 ‘the light Fantastic – angela bulloch interviewed by 

maria walsh’ and ‘lost in translation – tacita dean 

interviewed by maria walsh’, in talking art monthly: 

interviews with artists since 1976, london: ridinghouse 

and art monthly. 

2006 ‘against Fetishism: the moving Quiescence of life 24 

Frames a Second’, in Film- Philosophy Journal: 

continental Film Philosophy today, vol.10, #2. 

2005 ‘Good Girls go to heaven, bad Girls go to london. but 

there is no Place like home’, in miles, S. (ed.) no Place, 

Film and video umbrella, london. 

2004 ‘intervals of inner Flight: chantal akerman’s news 

From home’, in Screen, vol.45, issue 3. 

2004 ‘the immersive Spectator: a Phenomenological 

hybrid’, in angelaki: Journal of the theoretical 

humanities, vol.9, issue 3. 

2004 ‘narrative duration: tacita dean’s disappearance at 

Sea’, in reading images and Seeing words, rodopoi: 

amsterdam and new york. 


2009 ‘the Second Sex dinner: a re-enactment’, creative 

Practice/creative research conference, york St John 

university, york. 

2009 ‘the Flaneusie of cinematic writing’, the wild eye: 

experimental Film Studies, de montfort university, 

leicester. 

2008 ‘the time of the cut’, Film as Philosophy, Philosophy 

as Film, university of the west of england, bristol. 

2007 ‘the entranced Spectator’, Screen/Space: the 

Projected image in contemporary art, university of 

edinburgh, edinburgh. 

2007 ‘auto-affection as spectatorship’, theorizing affect, 

university of durham, durham. 

2006 ‘ontology and meaning in new media’, art and 

metaphysics in the twentieth century and beyond, 

international university bremen. 

2005 ‘the double Sided interval: Salla tykka’s lasso’, 

international association for Philosophy & literature 

29th annual conference, helsinki. 

157

158 

whiteleGG isobel 

Fellow 

Biography Dr Isobel Whitelegg is a Fellow at 

Chelsea and a core member of the research centre 

for Transnational Art, Identity and Nation (TrAIN) 

at Chelsea and Camberwell. 

She completed her BA at Winchester School of Art 

before specialising in modern and contemporary 

Latin American Art at the Department of Art 

History & Theory, University of Essex. While 

completing her PhD there (2001–05) she was a 

curatorial advisor to the University’s collection of 

Latin American art. As a post-doctoral Research 

Fellow at Essex she focused on the presence and 

critical reception of artists from Latin America in 

1960s and 1970s Britain. 

Her published writing has focused on the retrieval 

of exhibition histories, including research on 

the gallery Signals London (‘Signals Echoes 

Traces’, in Brett, G. and Figueiredo, L. Oiticica in 

London; London: Tate Publishers, 2007) and the 

Bienal de São Paulo (‘The Bienal de São Paulo 

Unseen/Undone, 1969/81’, in Afterall #22; 

Antwerp–London–Los Angeles: Autumn 2009). 

She has curated exhibitions in collaboration 

with artists from Brazil; she is currently 

co-convening a new international research forum 

on Transnational Latin American Art for the 

University of Texas at Austin, and is a member of 

the international research network Conceptualismos 

del Sur. 

researCh statement My research and writing 

addresses Latin American art as a field 

constructed by sites of external reception and 

paradoxically dominated by English-language 

knowledge and attempts to negotiate the 

difference and distance between localised sites of 

action and dominant sites of reception. 

I have researched the presence and critical 

reception of the work of Latin American artists in 

the UK, focusing on experimental spaces and 

ephemeral practices in the 1960s and 1970s. 

More recently my focus has been on moments at 

which the ideals of transnational movement 

and knowledge break down – concentrating in 

particular on the persistence of the Bienal de 

São Paulo under international boycott (1969–79) 

and the place of Latin America within the 

political imaginary of Europe and the USA. 

My research takes the form of critical and contextual 

writing, and exhibitions curated in 

collaboration with contemporary artists, as well 

as those including historical artworks and 

archival material. I am a member of Conceptualismos 

Del Sur, an international research network 

that involves artists and writers from across Latin 

America engaged in retrieving artistic practice 

that took place under conditions of political 

repression. 

Aspects of my research are also being developed 

as part of Meeting Margins: Transnational Art in 

Europe & Latin America 1950–1978, a collaborative 

AHRC funded project that has the aim of 

challenging the role traditionally ascribed to 

New York as a dominant force in the post-war 

years and interrogating an emergent paradigm of 

Latin American art viewed in terms of contact, 

collaboration and reception. This project includes 

Transnational Latin America – a new forum for 

emerging research in this area, (University of 

Texas at Austin, November 2009) and will result 

in an edited volume of essays (2011).

whiteleGG isobel 



2009 this Same world over (cinthia marcelle), Foyerspace, 

camberwell college of arts, london. 

2008–09 indirections (nicolás robbio), Pharos centre for 

contemporary art, nicosia, cyprus. 

PublicationS 

2009 ‘Signals 1964–66’, in metropolis de papel, revistas y 

redes internacionales en la modernidad artística 

latinoamericana, buenos aires: biblos Press. 

2009 ‘the bienal de São Paulo unseen/undone, 1969/81’, 

in afterall, #22 (antwerp–london–los angeles: autumn 

2009). 

2007 ‘Signals echoes traces’, in brett, G., Figueiredo, l. 

(eds), oiticica in london, london: tate Publishers. 

2007 ‘mira Schendel, towards a history of dialogue’, 

in asbury, m., Ferreira, G. (eds) transnational 

correspondence (rio de Janeiro: arte & ensaios, 2007). 

2007 ‘mira Schendel, ontological landscape’ dardo 6 

(october–november). 

artist: nicolas robbio, curator: isobel whitelegg, indirections (installation view), 

Pharos centre for contemporary art, nicosia, 2008 

159 

PreSentationS/conFerence contributionS 

2009 ‘reading the archives of an unseen bienal, Sao Paulo 

1973’ at the new archive, royal college of art (curating 

contemporary art department) london. 

2009 ‘the archived avant-garde, latin american art & 

the uk’ at laSa 2009, rio de Janeiro. 

2008 ‘a bienal não vista da Fora’ at 28th Sao Paulo 

biennal. 

2008 ‘biennales contra biennales,’ at association of art 

historians (aah) conference, tate britain. 

2008 transnational latin america (panel convenor) at latin 

american art and the uk, history, historiography, 

Specificity, ahrc conference at the university of essex. 


2008–09 member of selection panel, train/Gasworks 

residency competition. 

2008–09 curatorial advisory committee, brazilian embassy, 

london.


artist: cinthia marcelle, curator: isobel whitelegg, this Same world over (installation view), 

foyerspace, camberwell college of arts, 2009 

artist: cinthia marcelle, curator: 

isobel whitelegg, this Same world 

over (installation view), foyerspace, 

camberwell college of arts, 2009

wilder kenneth 

Fellow, courSe director 

Biography Dr Kenneth Wilder is a Fellow and 

Course Director for MA Spatial and Interior 

Design at Chelsea. Having previously practiced 

and taught architecture, Ken Wilder now 

practices primarily as an installation artist. His 

work engages issues of perspectival representation 

and spectatorship and combines sculptural 

objects with video projection. Wilder’s MA was 

from the Royal College of Art, and he has recently 

successfully completed a PhD entitled Projective 

Space: Structuring a Beholder’s Imaginative response. 

He is currently writing a book on the role of 

imagination in pictorial seeing. 

researCh statement My research is fine art 

based, but directly addresses architectural and 

spatial issues. I make gallery installations 

which often combine sculptural object and video 

projection. Utilising perspectival geometry, 

these site-responsive works engage the threshold 

between two and three dimensions. 

I have recently completed a PhD at Chelsea, 

entitled Projective Space: Structuring a Beholder’s 

Imaginative response. This thesis explored the 

reciprocal relationship between an artwork and 

the space of its reception. Referencing analytical 

philosophical arguments on representational 

seeing, and the reception aesthetics of Wolfgang 

Kemp, the thesis put forward a distinctive 

position that contended that while the visual 

imagination does not define depiction, it plays 

a pivotal role in supplementing perception in 

works where the spectator attends to and/or 

imagines away the threshold separating the real 

and fictive realms. I investigated two categories 

of works where such imagining facilitates a distinctive 

access to the picture’s content: (i) paintings 

containing what Richard Wollheim refers 

to as an ‘internal spectator’; and (ii) paintings 

161 

integrated into their architectural settings, where 

the internal onlooker is fused with the external 

spectator. I highlighted differences afforded 

internal and external spectators: with the former, 

the viewer identifies with a spectator who already 

occupies an unrepresented extension of the 

‘virtual’ space; with the latter, the beholder enters 

that part of the fictive world depicted as being in 

front of the picture surface, the work thus 

drawing the ‘real’ space of the spectator into its 

domain. 

I am currently writing a book that develops part 

of my written thesis, and distinguishes the 

question of ‘what’ a painting represents from 

‘where’ the content of the painting is implied, 

relative to the viewer. I am also involved in a 

group of moving image artists working towards 

an exhibition and symposium on the subject 

of ‘screen as image’. This develops a previous 

collaboration with Adam Kossoff and Karen 

Mirza/Brad Butler. 



2006 Passage, m2 Gallery, Peckham. 

2004 Projective Space, Galerie Sebastianskapelle, ulm, 

Germany. 

2003 conduit, m2 Gallery, Peckham. 

2002 ‘i was once as you are...’, kingsgate Gallery, west 

hampstead, london. 


2009 Plenum #3 exhibited at a Place called limbo, crypt 

Gallery, St Pancras church, london. 

2008 mantle exhibited at art of research: research 

narratives, chelsea college of art and design. 

2007 black and white, Gallery 12, hampstead, london. 

2006 angles of Projection, triangle Gallery, chelsea college 

of art and design. 

2006 biblio-, triangle Gallery, chelsea college of art and 

design. 

2005 Performance Furniture, triangle Space, chelsea 

college of art and design. london.


2004 milky voids (joint exhibition with Peter Stickland), 

leG, chelsea college of art and design, 

manresa road. 

2002 Plenum, austrian Pavilion, venice architectural 

biennale. 

2002 Suspended exhibited at reflections, gf2 Gallery, Soho, 

london. 


2006 biblio-, triangle Gallery, chelsea college of art and 

design. 

2006 angles of Projection, triangle Gallery, chelsea college 

of art and design. 


2008 ‘the case for an external spectator’, in british Journal 

of aesthetics. 

2007 ‘negotiating painting’s two perspectives: a role for the 

imagination’, in image [&] narrative, issue 18. 

2006 Guest editor and author of the article ‘a spatiality of 

situation’, in art in-sight, #31. 

kenneth wilder, monochrome Passage, (photo by k. wilder) 


2009 ‘levels of unreality’ at expanded cinema Seminar: 

expanded cartography, central Saint martins college of 

art and design, london. 

2008 ‘Framing an imaginative engagement’, at british 

Society of aesthetics annual conference, St edmund 

hall, oxford. 

2007 ‘levels of reality’, at real things: matter, materiality, 

representation, university of york. 

2006 ‘degrees of reality and the experiential’, at text/object 

conference, chelsea college of art and design. 

2006 ‘a spatiality of situation’, at angles of Projection 

symposium, chelsea college of art and design. 

2006 ‘towards a situated video practice’, at topos: between 

architecture and film, Slade/bartlett, woburn Studios.

wilder kenneth 

kenneth wilder, milky voids 

(photo by P. harrison) 

163 

kenneth wilder, intersection, (photo by k. wilder)

164 

beech amanda 

courSe director 

Biography Amanda Beech is Course Director 

for MA Critical Writing and Curatorial Practice at 

Chelsea. She makes artworks, writes and 

collaborates on curatorial projects. Her research 

looks to the possibilities of non-founda tionalist, 

new realist critique in the context of democracy, 

examining both the problems of ontologicial 

identification when understood as necessary for 

power, and alternatively; the tenability of a 

politics of aesthetics that secures realism from 

idealism in a politics of contingency. These 

political and philosophical issues are taken to 

research of art’s material and forceful claims both 

in the architecture of exhibition making, and in 

discrete works. She is a member of the steering 

committee for The Political Currency of Art 

research group and a Co-Director of the Curat ing 

Video research group; both are intercollegiate 

collaborations. 

researCh statement My art work explores the 

relationship between democracy and violence in 

neo-liberalism by scrutinising the forceful 

rhetoric within narratives of freedom, which play 

out in philosophy, politics, literature and popular 

culture. The work constructs narratives that take 

in particular biographies, sites, social mythologies 

and mixing them with the bounds of philosophical 

inquiry. Operating as a space of seductive 

power, will and force, the work looks to a world 

that emphasises decisiveness as its guiding 

principle and that deals with our share in it. 

Recent work includes group show: Let us Pray For 

Those Now Residing in the Designated Area, DNA 

Gallery, Berlin, trio exhibition with Roman 

Vasseur and Diann Bauer 2008, Commonwealth, 

MGK127, Toronto, 2009, and The Institute of 

Pyschoplasmics, Battersea Pump House Gallery, 

London, 2008 with catalogue essay ‘Matters of 

Freedom’. Other recent published writing includes 

‘Freedom from power; The Problem of Talking 

Them Down’, in the book As If Something Once 

Mentioned Now Plain to See, Colony Gallery, 

Birmingham, 2007 and contributing editor of the 

book Episode: Pleasure and Persuasion in Lens Based 

Media, Artwords Press, with the essay ‘We Never 

Close’. I was also co-organiser of the accompanying 

conference that launched the book at Tate 

Britain in autumn 2008. 

Solo projects in 2008–09 include a new video 

commission Statecraft from Commissions East 

with the exhibition of the work in Harlow, Essex, 

and an AHRC research award to make a new 

work in Los Angeles in association with the Getty 

archives and Villa Aurora. I was awarded the 

SWAC residency at Spike Island in 2009 to complete 

the work and have an upcoming solo exhibit 

of the work in 2010. The work explores the 

aesthetics of a discordant dialectical modernity 

and the pragmatic realism of liberal conservativism 

in post war LA. Identifying the two sets of 

politics to share the same logic of nature, the 

work examines the ideality of psychological and 

geographic affiliations that are produced in 

these subject positions. The research continues 

to investigate these issues in art making, live 

discussion and writing. 


Solo exhibitionS 

2009 image-Force, urbanomic Studio, Falmouth. 

2008 Statecraft the temple of utopias, temporary gallery, 

harlow, essex. 

2006 Falk mot Gallery london part of an exhibition in 

three Parts curated by chris hammond (publication). 

2003 the Patriot, the economist Plaza, london. 


2009 Part of ongoing pedagogical research: co-editor of 

Project biennale, book published as a collaboration 

between ma cwcP chelsea and ma curating students

eech amanda 

from essex and Sheffield hallam university. launched at 

the venice biennale 2009 and Press conference event at 

Sia Gallery, Sheffield. 

2008 one way Street, kx Gallery hamburg, Germany and 

Sheppard Gallery reno, uSa. co-curated with Jaspar 

Joseph-lester and matthew Poole as curating video. 

2006 little Private Governments, university Gallery, 

university of essex, co-curated with matthew Poole 

(catalogue available). 

2005–06 episode, co-curated project with J.J. lester and m. 

Poole as curating video. temporarycontemporary 

Gallery, london, leeds met Gallery, leeds and South 

Florida arts centre, miami, uSa. 

2004 death of romance, carnaby Street, london. 

GrouP exhibitionS 

2009 Greetings comrades, the image has now changed its 

status, brunswick arts centre, australia, curated by 

bridget crone. 

2009 commonwealth, mGk127, toronto, canada. 

2009 let us Pray For those now residing in the designated 

area, dna, berlin, Germany. 

2008 the mortar of distribution, with roman vassuer, 

artprojx, london. 

2008 the institute of Pyscholplasmics, Pump house, london. 

2008 in a manner of Speaking, transmission, Glasgow. 

2007 Foreign body(ies), white box gallery, new york, uSa. 

2007 art video exchange, bergen kunsthall, bergen, 

norway. 

2007 local operations, Serpentine Gallery, london, 

project space. 

2007 ubiquitous media, tokyo university, Japan. 

2007 the dream of Putrefaction, metropole Gallery, 

Folkestone, kent and Fieldgate Gallery, london. 2006 

little Private Governments, university Gallery, university 

of essex. 

2006 S1 Salon, S1 Gallery, Sheffield. 

2005 episode, temporarycontemporary Gallery, london, 

leeds met Gallery, leeds and South Florida arts centre, 

miami, uSa. 

2004 Pilot: 1, limehouse town hall, london. 

2004 zoo art Fair, with Jeffrey charles Gallery, london. 

2004 willkommen, the metropole, Folkestone, kent. 

2004 Plaza Suite: laden Für nichts, union Projects, london. 

PublicationS 

2008 ‘matters of Freedom’, in the institute of 

Pyschoplasmics, Pump house Gallery, kollectiv, P. and G. 

2008 ‘we never close – techno-culture and the Force of 

law’, in episode: Pleasure and Persuasion in lens based 

media, artwords press, london, beech, a., Joseph-lester, 

J. Poole, m. 

165 

2007 ‘don’t fight it: the embodiment of critique’, Journal of 

visual art Practice 6: 1. 

2007 ‘Freedom from power; the Problem of talking them 

down’, as if Something once mentioned now Plain to 

See, book published by colony Gallery, birmingham. 

2006 ‘culture and the real world, the Folly of critique’, in 

transmissions, Speaking and listening, Sheffield hallam 

university, essay and discussion. 

2005 ‘on violent Ground, heidegger, Jünger and malick’ 

article, inventory, vol.5, #2 and 3, cornerhouse. 

2004 ‘out For Justice’, published in exhibition catalogue, 

Strategies against marketecture, temporary 

contemporary Gallery, london. 

Selected PreSentationS, PanelS and 

conFerence PaPerS 

2008 respondent to andrea Philips and valerie Fraser, panel 

discussion ‘is community the fantasy of architecture?” as 

part of a series of discussions for art and the new town, 

harlow essex. 

2008 ‘critique of irony’ (paper), for the panel discussion for 

the institute of Pyschoplasmics, Pump house Gallery, 

london. 

2008 ‘episode: the Pleasure and Persuasion of lens based 

media’, panel convener and panel session, tate britain, 

london. 

2008 co-organiser curating video, paper ‘art and Security’, 

chelsea college of art, london, . 

2008 ‘on arts writing’, panel discussion with 

J.J. charlesworth and mark wilsher, chelsea college of 

art, london, 

2007 ‘consequences of capital’, panel discussion 

representing Poca, in association with Pilot artists and 

curators Forum, chelsea college of art, london. 

2007 Political currency of art, panel at venice biennale, 

italy, in association with Pilot artists and curators 

Forum and bevilaqua la masa. 

2007 ‘resistance and invention’, panel discussion as part of 

Poca, Serpentine Gallery, london. 

2007 lapdogs of the bourgeoisie symposium, chair, 

Gasworks Gallery, london, representing the Political 

currency of art research group. 

2007 episode symposium, respondant to Suhail malik’s 

paper as part of curating video leeds met Gallery, 

leeds. 

2007 ‘the dream of Putrefaction’, panel discussion, 

metropole Gallery, Folkestone, kent. 

2006 on liberty and art, co-organiser and chair, paper 

‘liberty: metaphors of contingency.’, tate britain, 

london. 

2006 ‘don’t Fight it! the embodiment of critique’, at the 

the institution of critique panel, aah conference, leeds.

166 

beech amanda 

2006 little Private Governments symposium, the university 

of essex, colchester. 

2005 ‘out For Justice consent and disagreement in Fish and 

Seagal.’ (paper), at dialogues discourses difference, 

aah conference, university of bristol. 

awardS 

2009 ‘normative divisions new territorialisms in 

contemporary art’, ahrc Small award. 

2008 Statecraft, a new video commission for harlow, arts 


2007 ahrc Small award, curating video. 

2007 daiwa anglo-Japanese Foundation Grant. 

2006 british council, travel award. 

2006 ahrc Small award, episode 

2006 hefce Promising researcher award. 

2005 Stipend for residency, rogaland kunstsenter, norway. 

2005 arts council individual award towards residency in 

norway. 

reSearch, PedaGoGy and Peer eSteem 

external examiner ma curatorial Practice, Falmouth. 

member of the advisory board for the journal collapse. 

co-director of curating video research group 

(www.curatingvideo.com) 

Steering committee – the Political currency of art research 

group (www.gold.ac.uk/visual-arts/poca) 

amanda beech, 

Statecraft, single screen 

video work, 15 min, 

2008

ircham lorna 


Biography Lorna Bircham is Course Director 

for MA Textile Design at Chelsea. She has been a 

member of the teaching team at Chelsea since 

graduating from the Royal College of Art in 1978. 

Her work as a free lance weave designer and 

consultant has played an important part in her 

contribution to student specialist knowledge. 

She currently works on both the BA and 

MA textile design programmes. She is a founder 

member of the Textile Environment Design (TED) 

research group, established in 1996, at Chelsea. 

An early contribution to the project was a 

collection of fabrics woven with Tencel and paper 

yarns for an exhibition The Story of Tencel at the 

Science Museum, London 1999. In 1999 and 2001, 

she undertook two related woven product 

develop ment projects in Assam, India working 

with rural weavers using the local silks eri 

and muga. Lorna has built up many international 

connections through academic assignments 

in Europe, India and Thailand. These have 

resulted in reciprocal educational and research 

opportunities for both undergraduate 

and postgraduate students. Her research project 

‘Mind the Gap’ looked at developing a new 

approach to the aesthetic and function of 

the universal hospital gown. Areas of importance 

included design and dignity, material choices, 

methods of production, maintenance and 

disposability. 

researCh statement As a member of the 

Textile Environment Design (TED) research 

group, I was involved with the exhibition Ever and 

Again in the Triangle Space, Chelsea College of 

Art and Design in 2007. Following on from that 

exhibition I have continued to produce, exhibit 

and sell upcycled and remade castoff furniture 

enhanced by vintage textiles. I am currently 

un dertaking a sustainable craft and technology 

pro ject involv ing small producers in India – this 

is expected to run from June 2008 to February 

2009. 


167 

Selected reSearch outPutS 

2007 works featured in ever and again exhibition, triangle 

Gallery, chelsea college of art and design, london. 

2004 ‘21st century textiles – the Past re-invented’ 

(conference paper), delivered at innovation – the new 

Paradigm for the textile and Fashion industry – 

2nd international conference of the north india Section 

of the textile institute, new delhi, india. 

2002 dyeing workshop – introducing an exhaust dye method 

to weavers in assam, india. 

external examination and teachinG 

2009 external examiner, university of the creative arts 

Farnham. 

2009 external examiner, Pearl academy Fashion, 

new delhi, india. 

2006 external examiner for ba textile design, university 

college for the creative arts, Farnham. 

2006 Postgraduate teaching Post, national institute of 

Fashion technology (niFt), new dehli, india. 

2004 external examiner, Pearl academy of Fashion, 

new delhi, india.


lorna bircham, re-cycled fabrics – ever and again exhibition, digital photograph, 2007 

lorna bircham, digital craft project-assam, digital, photograph, 2002–09

chalkley brian 


Biography Brian Chalkley is Course Director 

for MA Fine Art at Chelsea. He studied at Chelsea 

College of Art (1969–73) before taking his Masters 

Degree at the Slade School of Fine Art (1973–75). 

He has taught at Chelsea since 1991, having 

previously taught at Norwich School of Art and 

Newcastle Polytechnic, and has undertaken 

residencies with the British Steel Corporation and 

the British School at Rome. 

researCh statement ‘Canal admires the 

performances, videos and paintings of Brian 

Dawn Chalkley for their perverse multiplicity. 

His work accommodates a number of different 

identities: a cross-dressing monologist spouting 

an outsiders manifesto; the painter of claustrophobic 

interior scenes who pays homage to the 

sparse narratives of Pinter and Carver; a softlyspoken 

storyteller relating attempts to find 

sex in the wrong places; and the filmmaker who 

shoots himself prone on the ground, as if already 

dead. Canal understands why an artist like 

Brian Dawn prefers the margins to the spotlight, 

but wants nonetheless to see her standing, looking 

stunning, in its cold white beam.’ 

— Gareth Jones in Pilot 3 


169 

Selected exhibitionS and PerFormanceS 

2009 curator, the apartment, royal london house. 

2009 one day Project, performance at Spike island, bristol. 

2009 two night residency / Performance, Frankfurt. 

2009 la bird club, bethnal Green working men’s club, 

london. 

2008–09 red velvet curtain club, whitechapel Gallery, 

london. 

2007 Subjectivity and Feminism dvd screening, chelsea 

college of art and design, london. 

2006–07 after turner: cottages and a barn with a mountain 

beyond exhibited at drawing from turner, clore 

Galleries, tate britain, london. 

2005 conversing: Subjectivity and Feminisms, triangle. 

2002 Story teller, kinnijoe Space, hamburg. 

2002 non-Plan, domo baal contemporary art, london. 

2002 cab Gallery retrospective 99/02, essor Gallery project 

space, london. 

2001 what i told the truth, cell Project Space, london. 

2001 city racing 1988–98, institute of contemporary arts, 

the mall, london. 

2001 club club club, beaconsfield Gallery, london. 

2001 looking with/out, east wing collection, no. 05; 

biennial installation of contemporary art, courtold 

institute, london. 

2001 vague but true, angel row Gallery, nottingham. 

2001 Showcase Part 1, chelsea college of art and design, 

millbank, london. 

2000 vague but true, asbæk Gallery, copenhagen. 

2000–01 death race 2000, threadwaxing Space, new york. 

2000 vague but true, arnolfini Gallery, bristol. 

1999 brian dawn chalkley, Platform Gallery, london. 


2007 ‘learning in groups: the student experience in 

Postgraduate diplomas of Fine art’, 

with verhagen, m., in art design and communication 

in higher education, 6.2. 

2000 dawn in wonderland, platform.


brian dawn chalkley, hotel room 1, oil on board, 2006 

(photo by b. borthwick)

FitzPatrick edwina 

actinG courSe director 

Biography Edwina Fitzpatrick is Acting Course 

Director for MA Fine Art at Wimbledon. 

Her artwork explores the living environment and 

often involves using actual plant life. A central 

aspect of the practice is the creation of microclimates 

or sympathetic environments in order 

to sustain unstable entities such as uprooted 

plants or ice. It asks questions about the symbiotic 

rela tionship between human beings and plant 

life, and who or what is being nurtured. Projects 

often examine what happens where ‘grey’ 

and ‘green’ spaces intersect, or when human 

interactions affect the nature/culture/ecology 

of a place. 

The art projects are created through research and 

discourse. They celebrate narratives and 

conversations, and are often deeply informed by 

the history of a place. They are inclusive 

through the involvement of local individuals. 

Edwina’s practice is interdisciplinary and 

celebrates collaborations with experts across 

a range of disciplines. To date these have 

included horticulturalists, biodiversity experts, 

engineers, architects, perfumers, and composers. 

The artworks are presented both in public 

contexts (as permanent or temporary installations) 

and in galleries. 

(www.edwinafitzpatrick.co.uk) 

researCh statement The projects are 

strongly informed by research. This often raises 

questions about the nature of a place, and 

the ways that both indoor and outdoor environments 

might be transformed in innovative, 

and sustainable ways. Recent projects have 

included: 

The art of living 

An 18 month project in Castlemilk Glasgow. 

I worked closely with local residents and 

biodiversity experts across Scotland to create 

a unique Blood-Chlorophyll labyrinth, which 

acts as a spiral pathway into the newly created 

woodland walks. It was developed in acknowledgement 

that there is always a tension 

when crossing the threshold of a woodland or 

forest; that of being seduced or frightened. It is 

ambiguous whether this seduction or fear is 

inspired by nature or another human being. 

The project also involved creating a temporary 

wildflower allotment to grow and reintroduce 

native wild flowers to the area. The art of living 

focused on the changing nature and diversity of 

plant life to develop and enhance our sense of 

nurture for a place. (The art of living publication) 

171 

An Orchid Collection 

An Orchid Collection consists of a series of 

installations and sculptures which explore 

nature, nurture and obsession. Together, they 

unfold the intricacies and unpredictability of 

breeding patterns, and raise questions about race, 

otherness, and integration. They look at biodiversity 

– making connections between human 

activity and plants’ sustainability. 

Whilst ‘exotic’ plants are now commonly 

available across Europe, orchids are still able to 

inspire strong passions. I became so fascinated by 

orchid collectors and their obsessions, that 

I painstakingly replicated over 200 phalaenopsis 

(moth) orchids as an act of homage. 

These 3D, life sized paper flowers are pinned to 

the gallery wall as though they are 19th century 

butterfly specimens. Whilst looking identical to


living orchids, these replicas flatten and ‘neuter’ 

the plants reproductive (bi-sexual) organs. 

No pollinating insect would approach them, 

although they have a strong allure for humans 

because they are beautiful, ‘exotic’ and 

mimic female sexual parts. Poignantly, most 

phalaenopsis orchids are infertile due to constant 

hybridisation by international breeding 

programmes. 

King’s Wood Artist in residence for Stour Valley Arts – 

Arboreal Laboratory 

Arboreal Laboratory consists of three intertwined 

gallery installations, which resulted from a two 

year residency at King’s Wood in Kent. The work 

consciously relocates a rural experience to an 

urban setting, and refers to displacement and 

longing. 

The artworks were developed from a series of 

eight experiments conducted in the woods, 

which explored sound, scents, looking and time. 

I collaborated with perfumers to create scents 

of the woodland at specific moments of the year; 

and with composer, Matthew King to develop 

mobile phone ring tones of birdsong. 

(Arboreal Laboratory publication) 


commiSSioned ProJectS PreSented outSide 

the Gallery 

2008 manchester metropolitan university. commissioned 

artwork for St helens teaching hospital. 

2007–08 oxford churchill hospital. commissioned work for 

patient waiting area. 

2005–07 reputations. Glasgow. art of living permanent 

sited artwork. 

2002–04 Stour valley arts project. artist in residence at 

kings wood, kent. 

2002–03 Peabody trust. artist in residence at coopers road 

estate, london. 

Selected Solo exhibitionS and commiSSioned 

inStallationS 

2008 an orchid collection, Gallery 33, berlin, Germany. 

2007 arboreal laboratory, ovada oxford (as part of 

oxdox). 

2006 arboreal laboratory, as part of Process and Product 

exhibition, ashford library. 

2004 arboreal laboratory, herbert read Gallery, canterbury 

and touring. 

PublicationS 

2008 art of living publication, (monograph with 

commissioned short story by lesley Forbes). 

2007 art of living brochure. 

2005 king’s wood: a context, Stour valley arts. 

2004 arboreal laboratory, Sva monograph of kings wood 

residency.

FitzPatrick edwina 

edwina fitzPatrick, the art of living – blood chlorophyll labyrinth, 

permanent sited commission in castlemilk, Glasgow, 18 m × 18 m, 2007 

edwina fitzPatrick, an orchid collection – Flights of fancy, life-size 3d paper replications of fictional orchids, 

dimensions variable, 2008 

173

174 

Ghazi babak 


Biography Babak Ghazi is Course Director for 

the Postgraduate Diploma Fine Art course at 

Chelsea. 

researCh statement I am interested in art as 

a way to experience life. My work involves the 

claiming and repetition of found materials and 

processes. My production includes object-based 

presentations, 2D and time-based media, and 

more recently web-based projects. As well as 

exhibiting as an artist I write for periodicals and 

publications. I also organise exhibition-events 

and irregularly publish a handmade magazine 

called NotYet. 


Solo exhibitionS 

2008 caribic residency, Frankfurt, Germany. 

2008 ‘model’ presented at nought to Sixty, ica, london. 


2009 Still life, caribic, Frankfurt, Germany. 

2009 the apartment, royal london house. 

2009 the end is the beginning is the end, central Gallery, 

reading, 

2008 Sur le dandysme aujourd’hui, centro huarte de arte 

contemporáneo, Pamplona, Spain. 

2008 allias, 29 rue de stassart 1050, brussels, belguim. 

2008 Sound of music, collection of Frac nord – Pas de 

calais, France. 

2008 karen cunningham, luca Frei & babak Ghazi, Glasgow 

Project room, Glasgow international. 

2008 ready made, yvon lambert Gallery, Paris. 

2008 babak Ghazi & donelle woolford, liste 08, basel. 

2007 new lexicon, the apartment, athens. 

2007 Frozen waves, yama, istanbul. 

2007 because the night, Galeria luisa Strina, Sao Paulo, 

brazil. 

2007 the affirmation, chelsea Space, millbank, london. 

2007 anachroniSm, argos, brussels. 


2009 the book of the Film, contributed new work, Jennifer 

bailey: london. 

2008 ‘inventory 22.02.08’, in croSS Section, Glasgow 

international Festival of contemporary visual art 2008, 

Glasgow. 

2007 ‘du cote de chez button’, in Frozen tears iii: Gay 

Prophesy of the demonically Social, article Press: 

birmingham. 

2007 ‘katharine hamnett 1985 artist project’, in katharine 

hamnett 1985 artist project, #42. 


2008–09 co-chair, cubitt, artist-run studio and gallery in 

london. 

2007 member of Selection Panel, Publish and be damned 

self-publishing fair. 

2006-09 cubitt curatorial bursary Selection Panel. 

babak Ghazi, data, September/october 1975, arte 

milano (withdrawn periodical) magazine 

21 × 30 cm, 2007

Ghazi babak 

babak Ghazi, model, 24 digital prints on canvas, dimensions variable, 2008 

babak Ghazi, katharine hamnett 1983, billboard posters, 304.8 × 203.2 cm, 2008 

175

176 

Johanknecht Susan 

Pathway leader 

Biography Susan Johanknecht is Pathway 

Leader of the Book Arts pathway, MA Visual Arts 

at Camberwell. Her work focuses on the development 

and production of artists’ books under 

the imprint of Gefn Press. The press has published 

thirty books to date and had a retrospective 

exhibition at the University of Vermont, 

Burlington in 2007. Johanknecht works with the 

artists’ book as a site for collaborative practice 

and has co-curated several projects including: 

Here are my Instructions, 2004 co-edited with Redell 

Olsen in response to the writing instructions / 

reading walls series of installations at the Poetry 

Society, London; Volumes (of vulnerability) 2000 

and Cunning Chapters, launched at the British 

Library, November 2007 – January 2008, both cocurated 

with Katharine Meynell. 

Recent Gefn Press publications consider hypertext 

in relation to the printed page, Subsequent 

Drainage on Folding Rocks 2004, and the material 

poetics of letterpress printing Subtext Localities, 

2007. Her writing has appeared in HOW(2) 

internet journal of Contemporary and Innovative 

Writing by Women and PORES avant-gardist 

journal of poetic research. 

researCh statement My research focuses on 

the development and production of artists’ books 

under the imprint of Gefn Press. Concepts of the 

hybrid, expanded book are central to my ongoing 

research; questioning and negotiating the role of 

the book in contemporary fine art/poetic practice 

through the production of artists’ books and 

collaborative projects. Under the imprint of Gefn 

Press my projects from the last decade have 

explored relationships between digital sequences, 

photo- animations written onto CD-ROM or DVD 

and the physical book. These include: of science & 

desire, WHO WILL BE IT?, The Transgenic Tale of 

Lily Goat Gruff, Modern (Laundry) Production and 

Subsequent Drainage on Folding Rocks. Discussing 

this work in Literary Value / Cultural Power: Verbal 

Arts in the Twentyfirst Century (Manchester 

University Press) Lynette Hunter described these 

pieces as ‘synergetic texts’. Redell Olsen writes in 

her article ‘Postmodern Poetry in Britain’ (The 

Cambridge Companion to TwentiethCentury English 

Poetry, Corcoran, N. (ed.)): ‘The work of Milne, 

Riley, Fisher and Johanknecht reaches out of the 

autonomous niche afforded to poetry by closely 

guarded disciplinary and nationally constituted 

boundaries.’ An interdisciplinary interrogation of 

the book informs my teaching on the MA Visual 

Arts, Book Arts pathway. 

Alongside individual publications, I have explored 

the artists’ book as a site for collaborative practice. 

In 1997–2000, I co-curated the artists’ book 

millennium project Volumes (of vulnerability) with 

Dr Katharine Meynell of Middlesex University, 

which included the work of twenty artists 

and toured internationally, and in 2006–08 

Cunning Chapters, which re-examined the category 

of artists’ books in light of recent cultural and 

technological shifts, producing a series of chapters 

where issues of aesthetics and ‘well-madeness’ 

were exposed and analysed. Here are my Instructions 

in 2004, was co-curated with Dr Redell 

Olsen of Royal Holloway, University of London, 

considering physicality and poetics through 

site-specific wall inscriptions leading to a collaborative 

book. 

My investigation into materiality, physicality and 

poetics was published in a special feature on 

‘writing process and the artists’ book’ for HOW(2), 

an internet journal of contemporary and innovative 

writing by women.


Forthcoming projects include: an artists’ book 

‘interim corrode’, contributing to the book Mutual 

Dependencies to be published by Middlesex 

University and Art Words in autumn 2009, and 

the project Series & Sequence; The Fine Art Folio & 

Artist Book as sites of inquiry an AHRC application 

being developed with Professor Paul Coldwell. 



2009 land*scape*ist, wall Gallery, london. 

2009 Selections from the athenaeum’s erika and Fred torri 

artists’ book collection, Gefn Press, athenaeum, 

la Jolla, california. 

2007 cunning chapters, british library, london. 

2005 arcadia id est: artists’ books, nature and the 

landscape, trace Gallery; touring internationally. 

2005 30 years of innovation: a Survey of exhibition history 

at the center for book arts, 1974–2004, center for book 

arts, new york. 

2004 beyond the digital Surface, ewha Gallery, Seoul, 

korea. 

2003 (re)readings: artists books now, Gallery lux, 

San Francisco. 

2003 inside cover, the center for the book, San Francisco. 

2002 after dolly, FuSe art/science exhibition, ica, london. 


2007 cunning chapters, co-curator, in collaboration with 

dr katharine meynell of middlesex university, british 

library, london, uk. 

2003 writing instructions / reading walls, visual poetics 

project, co-curator, Poetry Society cafe, london, leading 

to the publication here are my instructions edited with 

dr redell olsen, royal holloway, university of london. 

2000 volumes (of vulnerability), artists’ book millennium 

project, co-curator and exhibitor, touring nationally and 

internationally. 

Selected Poetry 

2005 ‘armour’ (online). Pores – avant-gardist journal of 

poetic research, issue 4. 

2004 ‘Plates 1–4, Figures 1–3, advice to miss buswell and 

miss ripley on drawing Fossils, list of illustrations’, in 

how2 Journal of contemporary writing (online), spring 

2004. 

2002 ‘modern (laundry) Production’, in how2 Journal of 

contemporary writing, autumn 2002. 

Selected artiStS’ bookS – authored 

2004 Subsequent drainage on Folding racks. london: 

Gefn Press. 

Selected bookS – edited 

2004 here are my instructions, co-edited with olsen, r., 

london: Gefn Press. 

177 

Selected articleS 

2004 ‘Stockholm’, in harrison, l. (ed.) Fantastic cities, 

canterbury: kent institute of art & design. 

2003 ‘the Symbolic book: a travelogue’, in morley, S. (ed.) 

the book Show, london: utopia Press with the nunnery 

and the wordsworth trust. 

2003 ‘bildersprechen’ (six artist’s pages), 6. Jahrbuch der 

hochschule für bildende künste, braunschweig, cologne: 

Salon verlag. 

2003 ‘Some reformations’, in bodman, S. (ed.) artist’s book 

yearbook 2003–2005, bristol: impact Press. 

Selected honourS 

2009 winner of yale university Purchase Prize for cocurated 

collaborative work cunning chapters. 

2009 appointed Fellow of the higher education academy.

178 


Susan Johanknecht, cunning chapters, collaborative book project, various media, 30 × 28 cm, 2007 

Susan Johanknecht, cunning chapters, collaborative book 

project, various media, 30 × 28 cm, 2007

o’connell douglas 


Biography Douglas O’Connell is Course 

Director for MA Visual Language of Performance 

at Wimbledon. He has worked in production 

design incorporating digital technology into 

design and performance. His recent credits 

include: Monsters (Arcola), This isn’t Romance (Soho 

Theatre), 50th Anniversary Gala of Harold Pinter’s 

The Birthday Party (Lyric Hammersmith), Fight Face 

(Lyric, Hammersmith), Saturday Night Sunday 

Morning (Harrogate Theatre), Sarajevo Story (Lyric, 

Hammersmith), Back at You (Lightwork/BAC), 

Here’s What I Did with My Body One Day (Pleasant 

Theatre London & National Tour), You Kill Me 

(ReActor Conference in Digital Media), Twelfth 

Night (Fervant Theatre), Utter (Verbatim Practices 

in Contemporary Theatre symposium), InVertigo 

(Vision Festival, Brighton), Triptych (Bath 

International Festival), Festival of Lights Exhibition 

(Royal National Theatre), Art in You (Greenwich 

Council). 

Within theatre production he has worked in Off 

Broadway and regional theatre throughout 

New York and Chicago including the Apple Corp 

NY, John Drew Theatre, East Hampton and 

Steppenwolf Theatre, Chicago. As part of Gallery 

37 he has worked in collaboration with the 

Emergency Exit Arts, the National Youth Theatre 

Deptford, Birmingham Royal Ballet, Collective Art 

Noise, and the Greenwich/Dockland Festival. 

In 2008 he was the recipient of a fellowship in 

Promising new Research at Wimbledon College of 

Art and is currently conducting research in the 

uses of web interface and social networking as a 

contemporary performance model for telematic 

performance. 

researCh statement I aim to develop insights 

in which to explore concepts of contemporary 

179 

spectatorship through the integration of digital 

technologies for live performance. My work seeks 

to manifest a transactional performance environment, 

composed of images and sound, derived 

through content distributed digital devises, which 

enables a fluid integration of performance action 

with new communicative technologies. 



2009 monsters, video design for performance, written by 

niklas rådström. 

2009 this isn’t romance, projection design for performance, 

Soho theatre, london. 

2008–09 the overlook, online performance research, 

www.theoverlook.co.uk. 

2008 Pinter 50th anniversary Gala, video design, 

commissioned by david Farr to honour 50th anniversary 

of harold Pinter’s the birthday Party. 

2008 FightFace, video design, subtitle design and animation 

for hearing impaired, written by Sophie wooley and 

directed by Gemma Farlie. 

2008 Sarajevo Story, video projection design for 

performance. lightwork image Performance, directed by 

andy lavender, devised by the company. 

2007 back at you, media design, battersea arts centre. 

2007 once dead, video design, theatre and Performance 

research association presentation. 

2005–06 here’s what i did with my body one day, visual 

designer, touring nationally, lightworks, directed by andy 

lavender. 

2006 twefth night, media design, Fervant theatre company, 

directed by mike benardi 

2006 Passionate alliance: cardboard citizens, designer, 

emergency exit arts, directed by Stuart mullin. 

2005 invertigo, visions Festival, brighton. 

2005 invertigo, conceived and directed, woodenhead works, 

broadway theatre, lewisham. 

2005 utterance, visual designer, lightworks, directed by 

david annen. 

2004 triptych, conceived and directed, bath international 

Puppetry festival. 

2004 Festival of light, lighting and visual designer, projected 

media exhibition, the national theatre, media designer v 

thames Festival, emergency exit arts. 

2002 livin’ it large and loud, visual designer, art of 

regeneration, albany theatre deptford, media designer 

thames Festival, emergency exit arts.


douglas o’connell, 

Fight Face (production 

photo), lyric hammersmith 

london, Project imagery 

design: animated Sur-titles 

for the hearing impaired, 

2008

o’connell douglas 

douglas o’connell, the overlook: durational internet Performance, projected text, 

scenography and performance, 2009 

181

182 

Sandy mark 


Biography Following a degree in Art History 

Mark Sandy studied paper conservation at 

Camberwell College of Arts where he has taught 

since 1992. He has been PG Dip and MA Course 

Director for Conservation at Camberwell since 

2000 and is Assistant Director of MATAR 

(Materials and the Arts research centre). Mark 

Sandy is a member of the Institute of 

Conservation (ICON), the International Institute 

of Conservation of Historic and Artistic Works 

(IIC), the Inter national Council of Museums – 

Conservation Committee (ICOM-CC) and the 

Conservation Teachers Forum. 


interests include the science of paper 

conservation, degradation of plant fibres in 

ethnographic cultural artefacts and physical 

properties of cellulose relevant to conservation. 

Laboratory techniques used include optical 

microscopy, scanning electron microscopy, 

Fourier transform infrared spectroscopy, finite 

span tensile testing and zero span tensile testing. 


Selected PublicationS and PaPerS 

2009 ‘review of the icom-cc 2008 triennial conference, 

new delhi’, in icom ethnographic newsletter, #30. 

2009 ‘changes in the tensile Properties of Paper in response 

to Fluctuating relative humidity – relevance to Paper 

conservation’, with andrew manning and Fabrice bollet, 

in international circular of Graphic education and 

research. 

2008 ‘a tensile testing method for monocotyledon leaves 

with Parallel venation’, with louise bacon, at bridgland, 

J. (ed.) Preprints of the icom-cc 15th triennial 

conference, new delhi, 22–26 September, vol.1. 

2003 ‘a haptech training Simulation for Paper conservation: 

Preliminary results’, with dr angela Geary, for 

eurohaptec 2003. 

mark Sandy, photomicrograph of raphia leaf surface taken at 400× magnification 

by scanning electron microscopy (Sem)

Sandy mark 

Photomicrograph of raphia leaf fibres taken at 400 × magnification using polarised light microscopy (Plm) 

mark Sandy, photomicrograph of raphia leaf surface taken at 400× magnification 

by scanning electron microscopy (Sem) 

183

184 

StiFF andrew 


Biography After eight years working with the 

co-operative arts group D-Fuse, focusing 

on web, video and DVD technology to produce 

installations and live events, Andrew Stiff 

was appointed to run the MA Visual Arts (Digital 

Arts) and MA Visual Arts (Digital Arts Online) 

pathways at Camberwell. He now works as an 

independent digital artist, using his experience 

of working within the architectural environment 

to explore the multiplicities of perception in our 

built environment. He has shown video installations 

in Rome, Seoul and the London Architecture 

Biennale. 

researCh statement My work is concerned 

with developing a visual language of the 

intricacies implicit in our built environment. 

The surface of the city is the visible manifestation 

of our endeavour to formalise, expand and 

innovate within the spaces that we create. The 

surface also defines the relationship between the 

inhabitants and the city. This relationship is in 

continuous evolution, as technology manipulates 

the everyday patterns that have defined the 

city throughout the ages. The experience of the 

city is a temporal one, and I use moving image 

to reflect this experience. 

andrew Stiff, Flag, digital print on paper, 27 × 21 cm, 2009 



2009 Pasar malam, early bird, exhibited at international 

mini Print exhibition, various venues. 

2009 Pasar malam, exhibited at atlas Show, crypt Gallery. 

2008 rain 1, 3 min video, exhibited at transcentric, lethaby 

Gallery, central Saint martins college of art and design, 

london. 

2007 digital and Physical Surfaces, symposium and video 

installation, university of the arts london, chelsea 

college of art and design. 

2006 twelve views, video installation, university of 

northampton, university of the arts london, camberwell 

college of arts. 

2006 temporal Facades, video installation, london 

architecture biennale, london. 

2005 corners, exhibition in art Space m-Post, Seoul, korea. 

2004 the city Quartered, film shown in the exhibition digital 

Surfaces held in Seoul, korea. 

2003 Sonicity festival, rome, in conjunction with d-Fuse. 

Selected PublicationS and conFerence 

PreSentationS 

2009 ‘the Faraday Grid’, at digital noise, Greenwich 

university. 

2008 ‘ten key digital issues’, in Philosophy in art, 

zidane Press. 

2007 ‘Second life and online learning experience’, 

conference paper, university of the arts london. 

2006 ‘the tactile learning environment’, conference paper, 

chelsea School of art, london. 

2005 ‘digital narratives’, lecture given to the bartlett School 

of architecture, london. 

2005 ‘the city and the moving image’, talk given to the 

architectural association, london. 

2005 ‘developing a community of Practice’, conference 

paper, london.

StiFF andrew 

andrew Stiff, eis krim, digital print on paper, 27 × 21 cm, 2009 

185

186 

taylor Finlay 


Biography Finlay Taylor is Pathway Leader for 

MA Visual Arts (Printmaking) at Camberwell. 

He attended Exeter College of Art, Croydon 

College of Art & Design and Wimbledon College 

(previously School of Art). His work inspects 

aspects of the landscape and natural history often 

investigating specific sites and species. In 2003 he 

was awarded the Boise Travel Scholarship to 

journey to the Monarch butterfly winter roosting 

sites in the Mexico. In 1999 he established the 

Pupa Press to produce book works and multiples 

and work with invited artists. Taylor has 

organised and partici pated in various exhibitions 

including: Symptoms (2000), Cover Up, London, 

solo exhibition, Spin (2001), Victoria & Albert 

Museum, London; Entomology Vandal (2001), 

Cover Up, London, group exhibition; reinterpreting 

the house (2002), Abbot Hall, Kendall, group 

exhibition; Great Piece of Turf (2003), Danielle 

Arnaud Contemporary Art, London; Exhumed 

(2003), Museum of Garden History, London; 

Nowhere Else But Here (2004), Danielle Arnaud 

Contemporary Art, London; Undertow (2004), 

Generator projects, Dundee; USUK (2005), Lab 

Gallery, New York; Arcadia id est (2005), 

international touring show; The World is Turning 

(2006), domoBaal Gallery, London; Dream Alps 

(2006), Fiort di Bard, Bard, Italy; Isobar (2007), 

Fieldgate Gallery, London, group show and 

Cunning Chapters (2007), British Library, London, 

group show. B**K (2008) London Print Studios, 

London, group show; Northern Print Biennale 

(2009), Newcastle, group show. 

researCh statement Depending on who is 

asking, I shift the angle of the reply but my work 

is often described as investigating landscape and 

the complex issues and notions involved with 

investigating it at this point in history. 

Informed by specific species or locations I work 

across media from photography and moving 

image to print media, sculptural objects and 

books. 

I have been working for some years on ‘snail 

drawings’, using these garden molluscs to eat into 

paper in either an abstract manner or spelling out 

short texts. For example ‘Song Thrush’ which is 

major snail predator and appears as a warning or 

exclamation. Other works have pictured the 

Thames-side habitat of the Hairy-backed snail. 

Similarly grazed upon the inkjet photo documents 

become covered in snail trails and the dye 

based ink runs with texts like ‘holy land’ and 

‘occupied territory’ reading across the image 

space. Recently I have worked on a snail eaten 

dictionary which spent six months in the garden, 

Darwin’s text On the Origin of Species and Steve 

Jone’s update of that thinking Almost Like a Whale, 

as well as more delicate decomposed book objects. 

Several works have involved the use of silk moth 

specimens (Bombyx mori). New Moon presents a 

swarm of moths around a light bulb casting large 

shadows onto the wall surfaces. Another work 

specimen rotates a single silk moth endlessly from 

the ceiling. These works are informed by the 

insects’ history. Bombyx mori has become extinct 

in the wild. This has happened at some point 

since its domestication in China over the last 

3000 years. During this period the captive moths 

have lost the ability to fly, the colour has 

diminished to a ghostly off white and the larvae 

can no longer climb steep surfaces and are kept in 

flat trays. 

Recent photographic works depict butterflies on 

people’s tongues this phenomena of insects

taylor Finlay 

Finlay taylor, Globe, potatoe cut on paper, 65 × 65 cm, 2008 

feeding from saliva or resting is changed with 

other insights. Its a meeting of taste sensors, 

butterflies ‘tongues are on the bottom of their feet 

or claspers and so the encounter is one of an 

invisible sense lost entirely in a c-type print but 

full of emotive responses. 



2009 mini Print, london Print Studios and touring. 

2009 atlas (separated by intervals), St Pancras crypt, 

london. 

2009 wild is the wind, wall, london. 

2009 1st northern print biennale, laing art Gallery, 

newcastle. 

2009 territory, otter Gallery, chichester. 

2008 big draw, university college london, london. 

187 

2008 b**k, london Print Studios, london. 

2007 isobar, Fieldgate Gallery, londo. 

2006 dream alps, Fiort di bard, bard, italy. 

2006 the world is turning, domobaal Gallery, london. 

2005 For millions of years Great things have Grown here, 

yard Gallery, nottingham. 

2005 arcadia id est, international touring book art show. 

2005 uSuk, lab Gallery, new york, uSa. 

2004 undertow, Generator projects, dundee. 

2004 nowhere else but here, danielle arnaud contemporary 

art, london. 

2003 exhumed, museum of Garden history, london. 

2003 Great Piece of turf, danielle arnaud contemporary 

art, london. 

2002 reinterpreting the house, abbot hall, kendall, group 

exhibition. 

2001 entomology vandal, cover up, london. 

2001 Spin, victoria & albert museum, london. 

2000 Symptoms, cover up, london, solo exhibition.

188 

waller tracey 


Biography Tracey Waller is Course Director for 

MA Graphic Design Communication at Chelsea. 

She studied Graphic Design at Central Saint 

Martins and the Royal College of Art. She worked 

for leading Broadcast Design Companies before 

setting up her own bespoke design practice, 

specialising in graphics for Broadcast Design, 

TV Commercials and Film. Clients include: BBC, 

Nickelodeon, MTV, VH1, Granada TV, ITV 

and Channel Five. Waller is known for her unique 

visual style of low- fi, hand drawn, painted 

graphics, working with clients on a commission 

and collaborative bases. 

researCh statement My research explores 

the value of self-reflection within the creative 

practice. Learning from how we do things gives 

us the potential to realise our own creative voice 

and vision. Drawing from my own practice as 

a designer, personal experiences and influences, 

I use my own models as examples to help students 

establish their own unique design voice. 

seleCted outCome examples 

Title: Words fail me 

Format: 30 sec animation 

Year: 2008 

Drawn from the experience of being Dyslexic, 

and using creativity as a cathartic process the 

outcome of this project gives a personal and 

poetical voice to the definition of dyslexia. 

Starting with my phonetic spelling of the word 

and using dictionary definitions as the bases of 

the animation, the words and images play off 

each other building a new narrative of interplay 

and meaning. 

Title: My Feet 

Format: Photographs 

A collection of on going self-portraits, 

started in 1993 

What started out as bit of self-mocking fun, 

photographs of my feet on holiday has grown 

over the years to form a collection. The collection 

when re-presented all together start to form a 

narrative, a journal, that documents my journeys 

over the years viewed from a different perspective. 

The beauty of this project is the spontaneity that 

it started out with, as the collection has grown 

and become more conscious, the fascination has 

been with the collecting and documenting. 

Given that narratives are part of my professional 

practice, stepping out side of the commercial 

time constraints, budgets and deadlines to work 

with a narrative that takes time, even years, 

allows me the space to re-frame myself and enjoy 

the creative process for what it is.

waller tracey 

tracey waller, words Fail me, animation , 30 sec, 2008 

tracey waller, my Feet, photographs, 1993 – 

189

190 

addiSon Gill, Fine art and expanded documentary 

practices. 

aSbury michael, art history and theory and modernism 

and contemporary art in brazil. 

baddeley oriana, art history and theory, transnational 

art, mexican art, cultural identity, latin american art and 

cultural hybridity. 

bamFord anne, art education, emerging literacies, 

visual communication. 

baSham anna, Japanese architecture, victorian to 

modernist. 

baSeman Jordan, Fine art: practice, theory, history 

of video, film painting, sculpture, digital arts, drawing 

and sound. 

baxter hilary, costume and theatre design. 

beech amanda, contemporary art practice, liberalism, 

democracy, non representationalism, contingency, 

violence and critique. Fine art: all media, curating, 

writing, inter and multi-disciplinary practice. 

beech david, contemporary art practices and debates, 

the public sphere and politically engaged practices. 

bircham lorna, textile design, new materials and 

environmental impact. 

biSwaS SutaPa, Studio practice. Fine art: film, video, 

drawing, painting, historical and cultural studies. 

blacklock GeorGe, Fine art, painting and abstract 

pictorial space. 

boyce Sonia, Fine art practice and drawing. 

burrowS david, costume and theatre design. 

cartledGe Frank, design communication, 

representations of domestic spaces and mediums as 

technological interventions. 

chalkley brian, Fine art, transgender identity, 

performance, drawing painting, book publication, video, 

performance and story telling. 

cheSher andrew, Fine art, documentary practice, 

avant-garde music, structures and practices. 

coldwell Paul, Printmaking, sculpture, digital art, 

installation, memory and the work of morandi. 

collinS Jane, Performance, identity, theatre design, 

scenography. 

courtenay PhiliP, collaborative transnational 

exchange processes, non representational theory and 

actor network theory. 

current reSearch deGree 

SuPerviSorS 

The following is an alphabetical list of current academic staff who are 

qualified or engaged in research degree supervision in C-C-W. This list is 

updated on an annual basis in relation to the matching of supervisory 

expertise to enrolled research students and to include recently qualified 

supervisors. 

courtney cathy, archives, theatre, book art and 

oral history. 

croSS david, Fine art, context specific sculptural 

installation and photography. 

cumminGS neil, critical practice, contemporary creative 

practice, art and social process, critical practice and 

digital technology. 

cuSSanS John, Fine art, new media, psychological 

models and the evolution of media technologies. 

denniS JeFFrey, Fine art, painting, drawing, meaning 

and process in contemporary painting. 

dobai Sarah, Photography, film, video, narrative, 

portraiture and billboards. 

donSzelmann bernice, Fine art theory and practice, 

architectural space and wall installation. 

drew linda, Pedagogic research, phenomenographic and 

social constructivist approaches to research. 

earley rebecca, eco-design, fashion, textiles, new 

textile technologies and contemporary craft practice. 

elweS catherine, artists’ film and video, feminist art, 

wartime SaS. 

FairninGton mark, Fine art painting. 

FarthinG StePhen, drawing, pedagogy and cross 

disciplinarity. 

Faure walker JameS, Painting, digital arts, drawing 

and criticism. 

FitzPatrick edwina, Fine art, interdisciplinary 

practice and concepts of nature and nuture. 

Fortnum rebecca, Painting, documentation, visual 

intelligence and feminism. 

FranciS mary anne, authorship and agency, the 

radically diverse artist and social art practices. 

FurlonG william, Fine art practice and theory, artists’ 

use of sound, sound sculpture and the spoken word. 

Ghazi babak, the creative individual, fine art production, 

object-based presentations, 2d and time-based media, 

meaning, intention and control. 

GraveS eve, museology and conservation, meaning a 

material culture, intangible heritage and intercultural 

communication. 

GunninG lucy, Fine art, the ‘in between’, currently in 

relation to architecture and the social implications of 

formlessness, in relation to place and behaviour. 

inGham mark, Fine art, installation, photography, 

sculpture and moving image.

current reSearch deGree SuPerviSorS 

Johanknecht SuSan, artists’ books, book art, 

contemporary poetics, small press publishing, the artists’ 

book as a site for poetic and collaborative practice. 

kikuchi yuko, art, design and craft history in britain, 

Japan and taiwan. modernity and national identity in 

non-western visual cultures. 

maloney Peter, Parallel spaces, virtual reality and 

simulation, media arts, models and visual thought/idea 

visualisation. 

newman aviS, Fine art practice with an emphasis 

on drawing. 

newman hayley, Performance and ‘liveness’, 

relationship between performance and its documentation. 

o’brien tamiko, Fine art, sculpture, site-based art 

practice and collaborative art practice. 

o’leary JameS, Site specific practice, performance, 

documentation. 

o’riley tim, animation, film, photographic works, 

relationships between art, science, literature and 

narrative. 

oSborne richard, Philosophy, cultural studies and 

art theory. 

Pickwoad nicholaS, book and library conservation, 

devising new techniques and methods to document 

material. 

Politowicz kay, development of textiles within interiors, 

textile design and production with an environmental 

agenda and addressing design problems. 

Quinn malcolm, critical practice. 

robertS aeli, material science, conservation and law. 

Salter rebecca, contemporary printmaking, Japanese 

printmaking, cultural history of print, edo period 

Japanese popular culture. 

Sandino linda, history and theory of the applied arts, 

the role of narrated life stories and identity formation of 

practitioners in creative industries. 

Sandy mark, haptic technologies within conservation 

training, properties of cellulose and paper in relation to 

deterioration and conservation. 

Scrivener StePhen, collaborative design, computermediated 

design, user-centred participatory design, 

practice-based research. 

SimonSon caryn, textiles, photography, video, sculpture 

and installation in a contemporary textiles context. 

Smith dan, Fine art theory, notions of archive, memory 

and the utopian impulse within cultural forms. 

Stair Julian, ceramic practice, ceramic history and 

theory, craft history and theory. 

StiFF andrew, digital arts, the city - urban landscape, 

cities temporal context and rhythm. 

tchalenko John, drawing, cognition, artistic creativity 

and research methodology. 

. 

191 

thomaS Jennet, experimental and narrative film 

and video. 

throP mo, Fine art, curating, practitioner, researcher, 

teacher identity, subjectivity, feminism, psychoanalysis. 

tulloch carol, dress and textiles associated with the 

african diaspora, material and visual culture, writing 

and curating. 

velioS athanaSioS, computer applications to 

conservation, digitisation, digital preservation, the 

concept of ethics in digital conservation and preservation. 

walSh maria, artist’s film and video, installation, film 

narrative and theory, spectatorship, phenomenology, 

performative writing, subjectivity and feminisms.. 

wainwriGht chriS, Photography, fine art, light forms, 

video, curating, climate change and cultural responses to 

the environment. 

watanabe toShio, transnational art, art, architecture 

and design of victorian and edwardian britain and Japan 

1850–1950, japonisme and orientalism. 

whiteleGG iSobel, modern and contemporary latin 

american art. 

wilder ken, Projective space, installation art, video 

sculpture, spatial practice, philosophy of art.

192 

Selected PaPerS 

and interviewS

who? me?: conFeSSionS oF 

a caSual tranSnationaliSt 

michael aSbury 

193 

It seems reasonable to assume that an association with the UAL research 

centre for Transnational Art, Identity and Nation (TrAIN) combined with 

curatorial and art historical work, that focuses to a large extent on modern 

and contemporary art in Brazil, would provide fertile grounds for the 

exploration of questions and/or problems relating to notions of identity. 

Yet, if one is to take this assumption as truth, the manner in which 

‘identity’ has featured in my work has been far from straight forward. 

Thinking about it as I write, I realise that the issue is rarely discussed in the 

first person (the mode of writing self-consciously adopted here). The issue 

becomes detached in this way as an observation of others or of particular 

historical instances whilst perhaps perversely fuelling the presumption that 

‘I’ (the self) remain exempt from the subject, from those who are labelled 

with their attributed or self-proclaimed identities. A label can act positively 

as a means of asserting one’s autonomy, one’s independence from the 

hegemony or one’s sense of pride. Yet labels also have a sticky side which 

can contain, which can restrict or exclude. Despite any possible detachment 

from the subject, there is the implicit assumption that one writes from 

a particular place of belonging. It is this restriction that partly explains my 

reluctance to completely embrace the issue of identity. The fact is that my 

own sense of belonging is accompanied by an equally present sense of nonbelonging. 

This is actually not only specific to myself – to my own 

ambivalent relation to my sense of self – but is fundamental to the notion of 

identity itself, since to invoke identity is also to summon difference. 

Having overcome this initial reluctance to identify my work with this 

issue, I realise that this short statement could offer an opportunity to 

investigate certain shifts that have, inevitably, appeared in my research and 

writing over the years. 

Already in the late 1990s, my principle concern focused on the negation 

of an emerging paradigm that purported a particular genealogy for Brazilian 

contemporary art. This seemed to be an implicit way in which to suggest 

that such production was effectively distinct from that in Europe and North 

America, that it had its own predecessors. This fact became explicit while, 

during the curation of an exhibition entitled ‘Other Modernities’, 1 one of the 

participating artists, Cildo Meireles, answered a question as follows: 

Of course it is important to state from where one emerges as an artist, and in my 

case artists such as Hélio Oiticica and Lygia Clark belonged to that context. But if 

we are to speak of influences, then we must speak of Marcel Duchamp. 2

194 who? me?: conFeSSionS oF a caSual tranSnationaliSt 

Meireles was in fact skilfully articulating a necessary manoeuvre of 

identification with both the art world and a particular – then perceived far 

more in terms a local – cultural tradition. I too saw my own research 

through a type of productive negation, in a sense not so distinct from what 

both Meireles and Oiticica pronounced in the catalogue for the exhibition 

‘Information’ (MoMA, New York 1970) where – individually but in accord – 

they stated their desire not to represent Brazil but only their own art. 3 

Similarly, the very concept of ‘Other Modernities’ (a title the exhibition 

inherited from a conference) seemed problematic to me as it suggested the 

advent of an original and/or homogeneous modernity. This is precisely 

the problem I have with the use of the term hybridity to describe composite 

cultural structures, preferring instead the juxtaposition model offered by 

the concept of syncretism. 4 

Keeping Meireles’ reference in mind, Duchamp’s door (11 rue Larrey) 

which could remain both open and at one and the same time closed, offers 

a close analogy to how I saw my role as a writer/curator dealing with issues 

that involved notions of identity. Duchamp also played with the term 

‘literature’ decomposing it into ‘Lits-et-ratures’, thus suggesting, as Sarat 

Maharaj put it, that one writes ‘rubbing out the rubbish’. 5 In this sense I saw 

myself purporting the uniqueness of the subject (the axiom ‘original 

contribution to knowledge’ which labels PhD research comes to mind here), 

while attempting to erase another form of claimed uniqueness (a genealogy 

that suggested a disconnection from the canon). 

This double manoeuvre, this writing by erasure, gained further emphasis 

during my work as associate curator for the Rio de Janeiro section of ‘Century 

City: Art and the Modern Metropolis’ 6 where displays of neoconcrete 

and abstract geometric art, architecture and urban planning, photography 

and music, presented the astonishing modernity of Brazil in mid-20th 

century: a display that caused much surprise to a public expecting, to a large 

extent, tropical stereotypes. The difficulty of the manoeuvre consisted in the 

necessity to both affirm the astonishing similarities between the Brazilian 

and the European avant-gardes, sometimes even the precursory nature 

of the former, while negating their sameness (or as Homi Bhabha put it, ‘the 

same but not quite’ 7 ) by focusing on the specificities of the local cultural, 

social and political contexts. Canonical discourses had after all emphasised 

derivation, arguing that non-European modern art was nothing more 

than a late copy of the original. This problematic issue of precedent became 

an essay in which certain ‘coincidences’ between neoconcretism and 

minimalism, were discussed by referring respectively to Ferreira Gullar’s 

‘Theory of the Non-Object’ of 1959 and Donald Judd’s ‘Specific Objects’ of

who? me?: conFeSSionS oF a caSual tranSnationaliSt 

195 

1965. 8 Neoconcretism arose out of disagreements within the concrete art 

groups in Brazil during the 1950s. Gullar had played a prominent role in 

questioning the rationalism of art concret offering a poignant critique of the 

a priori nature of Swiss artist and designer Max Bill’s rhetoric towards artistic 

production. If rationalism seemed coherent with the rapid modernisation 

of Brazil during the 1940s and 50s, with the drive to radically alter the 

nation’s view of itself from an agrarian to a modern industrial society, the 

neoconcretist rebellion argued that despite all the achievements of the 

developmentalist plan it was still possible to consider even abstract geometrical 

art as capable of containing as well as being the product of expression 

and intuition. 

My following task was thus to further investigate the circumstances 

in which the concrete and neoconcrete movements had been implemented 

in Brazil, and the reasons which led to the local assumption that they stand 

as precursors for Brazilian contemporary art. Having worked on a critique of 

external historical interpretations, my focus then turned towards national 

narratives. As curatorial advisor for an exhibition on Brazilian sculpture, 

I suggested as a chronological point of departure the first edition of the Sao 

Paulo Biennial in 1951. My essay that accompanied that catalogue analysed 

both sculpture prizes at that Biennial in order to question the prevalent 

national view that constructivist-oriented movements spread unquestioned 

across Brazil as a consequence of Max Bill being awarded the international 

prize in 1951. 9 

The research undertaken for that commission suggested a far more 

complex scenario. A vicious polemic had ran in the press about the 

appropriate ‘national character’ required for art in Brazil as opposed to the 

imported nature of abstraction which the Biennial seemed to support. 

This fact nevertheless cannot be corroborated, as Mario Pedrosa argued, 10 

given the ‘imported’ nature of the ideologies that fed the polemic in the first 

place, but more specifically, the advent of the ‘national’ prize for sculpture 

having been awarded to Victor Brecheret for a work that drew on Brazilian 

‘indianist’ themes. 

Brecheret had been one of the leading figures of the modernismo 

movement which during the 1920s overturned the Beaux-Arts tradition in 

favour of a modernist aesthetic adapted to local subjects and themes. Of 

course, the aesthetics remained European as the need to address cultural 

dependency had yet to gain a sense of urgency. This would arrive in 1928 

with poet Oswald de Andrade’s characteristic irreverence profoundly 

affecting subsequent cultural production in Brazil. Oswald’s Anthropophagite 

Manifesto suggested the cannibalisation of European culture as the


only truly ‘Brazilian’ act. The contradiction – a national culture via the 

appropriation of the European canon – was played upon, in the spirit of 

Dada, by invoking the ‘original Brazilians’, the Tupi-Guarani tribes. 

Shakespeare’s famous line in Hamlet thus becomes: ‘Tupi or not Tupi, that 

is the question’. 11 Similarly the Manifesto states its location and date as: 

‘Piratininga [Tupi-Guarani name for the region of Sao Paulo] the year 374 

after the swallowing of the Bishop Sardinha [one of the early Portuguese 

victims of cannibalism on the Brazilian coast in 1554]’. 12 

My first field work in Brazil focused on the 24th Sao Paulo Biennial in 

1998, curated by Paulo Herkenhoff, with Anthropophagy as its theme. One 

of the most critically acclaimed Biennials, it took Oswald’s own rhetoric 

even further by considering art, whether contemporary or historical, from 

Brazil or beyond, as being driven by the process of appropriation. It would 

be fair to suggest that my own methodological approach to writing – 

particularly the articulation of historical narratives on modernist movements 

in Brazil and Europe – possesses certain affinities with Herkenhoff’s 

strategy at that occasion. 

Researching modernismo led me to question the sources of some of the 

paintings produced during the 1920s. 13 For instance, if in Europe the period 

known by the Rappel à l’Ordre – when many of the artists associated with 

modernismo arrived in Paris – had been an ideologically motivated call to 

realign French culture with its perceived rightful classical inheritance, then 

how derivative could Anthropophagy actually be? In other words, how can 

we consider the contemporaneous French invocations of Arcadia, that 

referred to mythical Greece, as less derivative than the Brazilian invocation 

of an equally mythical pre-Colombian ‘Arcadian’ vision? 14 

Moreover, if the aesthetics of modernismo led to the adoption of a largely 

figurative national style that became engrained in the ‘national 

consciousness’ until the 1950s, then what could be said about the equally 

recurrent British figurative tradition if compared to the institutionalisation 

of abstraction as the prevalent modernist mode in post-war continental 

Europe? 15 If my prior research had questioned the claim that the adoption of 

art concret had been widespread in Brazil during the 1950s, showing it to be 

on the contrary, quite a localised if vocal event, then what of the 

dissemination of concrete art in Britain? 16 What differences (other than the 

obvious socio-political ones), or indeed similarities, could the reception of 

Max Bill’s premises have had in each context? 17 

It seems therefore quite natural that the questions described above have 

led me into an ever more complex comparative and transnational method of 

approaching the problem of identity. The research process has thus become


197 

centred on the movement of artists, and the migration of ideas rather than 

on subjects defined or constrained by geopolitical borders. This became 

explicit in the collaborative project that I led between TrAIN and the Federal 

University in Rio de Janeiro, which culminated in a 416-pages-publication 

entitled Transnational Correspondence and a two-day conference at Tate 

Modern. 18 Other than commissioned essays, the publication included 

reference texts and a dossier of letters between artists ranging from Édouard 

Manet (writing from Rio de Janeiro) to exchanges amongst contemporary 

artists. The theme also closely relates to the current three-year AHRC 

funded project, entitled ‘Meeting Margins: Transnational Art in Europe & 

Latin America 1950–1978’, with which I am engaged in with my TrAIN 

colleague Dr Isobel Whitelegg together with Professor Valerie Fraser and 

Dr Maria Inigo Clavo from the University of Essex. 

I would not like to end without mentioning the area of work that has 

given me the most pleasure, which is working directly with individual 

artists such as: Brigida Baltar, Ricardo Basbaum, Angela Detanico and Rafael 

Lain, Ducha, Cao Guimarães, Jarbas Lopes, José Patricio, Anna Maria 

Maiolino, Cinthia Marcele, Antonio Manuel, Cildo Meireles, Rosangela 

Rennó and many others. 19 Here the emphasis has been on the study of their 

individual trajectories, their development of concepts through practice, 

whether or not their work bears any relation to issues of cultural identity. 

I should also admit that most of the art historical research I describe 

above had its origin within my PhD on the work and writings of Hélio 

Oiticica. 20 It is precisely the fact that he has become such a paradigmatic 

figure that has driven me towards emphasising the context (to quote 

Meireles again) from which Oiticica himself emerged. 21 My approach to 

research is thus to expand the international understanding of art from 

Brazil beyond strategic essentialist paradigms whose principle function is 

facile (commercial) dissemination. Here, lies the crux of the activity of 

writing by erasure. 

Michael Asbury is Pathway Leader for MA Visual Arts (Transnational Arts) at 

Camberwell College of Arts and Associate Director of the research centre TrAIN. 

1 other modernities: Foreign investment, milton machado, cildo meireles and yinka 

Shonibare, exhibition curated by michael asbury and oriana baddeley, in conjunction to 

section 6 of the 30th international congress of art historians (ciha), london institute 

Gallery, london, 2000. 

2 meireles in conversation with the author, rio de Janeiro, 2000.


3 mcShine, k. (ed.) information, exhibition catalogue, museum of modern art, 

new york, 1970. 

4 canclini, n. culturas híbridas: estrategias para entrar y Salir de la modernidad, 

mexico: editorial Grijalbo, 1989. 

5 maharaj, S., ‘“a liquid, elemental Scattering”: marcel duchamp and richard hamilton’, 

in richard hamilton, exhibition catalogue, tate Gallery, london, 1992. p.40. 

6 century city: art and the modern metropolis: bombay/mumbay, lagos, london, moscow, 

new york, Paris, rio de Janeiro, tokyo, vienna, curated by yvona blaswick et al, 

(inaugural temporary exhibition), tate modern, london, 2001. 

7 bhabha, h. k. ‘of mimicry and man: the ambivalence of colonial discourse’, in october 

28, spring, 1984, p.127. admittedly, the context of bhabha’s argument is distinct 

from mine. 

8 asbury, m. ‘neoconcretism and minimalism: on Ferreira Gullar’s theory of the nonobject’, 

in mercer, k. (ed.) cosmopolitan modernisms, iniva and mit Press: london, 

massachusetts, 2005, pp.168–189. 

9 asbury, m. ‘the bienal de São Paulo: between nationalism and internationalism’, in 

curtis, P., Feeke, S. (eds) espaço aberto/ espaço Fechado: Sites for Sculpture in modern 

brazil, exhibition catalogue, the henry moore institute: leeds, 2006, pp.72–83. 

10 Pedrosa, m. ‘a bienal de São Paulo e os comunistas’, in tribuna da imprensa, 1951. 

Quoted in: asbury, ibid. p.75. 

11 Schwarz, r. ‘brazilian culture: nationalism by elimination’, in Gledson, J. (ed.) roberto 

Schwarz: misplaced ideas, verso, london, 1992, p.9. 

12 andrade, o. de, ‘manifesto antropofagico’, in revista de antropofagia, #1, Sao Paulo, 

1928. reprinted/translated, in ades, d. (ed.), art in latin america: the modern era 

1820–1980, new haven and london: yale university Press, 1989, pp.312–3. 

13 asbury, m. ‘tracing hybrid Strategies in brazilian modern art’, in harris, J. (ed.) 

critical Perspectives on contemporary Painting, critical Forum Series #6, tate Gallery 

liverpool and university of liverpool Press, 2003, pp.139–170. 

14 See also: asbury, m. ‘Parisienses no brasil, brasileiros em Paris: relatos de viagem e 

modernismos nacionais’, concinnitas Journal, #12, instituto de artes, universidade 

estadual do rio de Janeiro (uerJ), 2008, pp.37–47. 

15 herbert read did in fact consider modernism as a universal language with national 

accents when addressing the british contribution to the 1951 Sao Paulo biennial. See: 

machado, G. (ed.) i bienal do museu de arte moderna de São Paulo, exhibition 

catalogue, museu de arte moderna de São Paulo, 1951, (2nd edition). 

16 See: alloway, l. nine abstract artists: their work and theory, alec tiranti ltd, 

london, 1954. 

17 this question has been explored in a number of articles. See: asbury, m. ‘Shadows / 

Sombras’, in asbury, m. bueno, G., Ferreira, G., and machado, m., arte & ensaios, 

#14, special issue: ‘transnational correspondence’, PPGav-uFrJ, rio de Janeiro, 

2007, pp.52–67. 

asbury, m. ‘From constructivism to Pop: avant-Garde Practices in brazil, britain and 

north america between the 1950s and 1960s’, in anderson, J. (ed.) crossing cultures: 

conflict, migration and convergence, the Proceedings of the 32nd international congress 

of art historians (ciha), university of melbourne, australia, the miegunyah Press, 

2009, pp.743–46. 

18 arte & ensaios, #14, op. cit. 

19 Forthcoming editorial projects with Pharos Publishers include books on: cao Guimarães, 

José Patricio, and rosangela rennó. 

Published work on individual artists includes: 

asbury, m. and keheyan, G. (eds) anna maria maiolino, exhibition catalogue, Pharos 

Publishers, nicosia, 2009.


asbury, m. ‘memória e outros esquecimentos’, in cao Guimarães, exhibition catalogue, 

Galeria nara roesler, Sao Paulo, 2009, pp.1–6. 

asbury, m. ‘Painting by numbers / Pinturas numerosas’, in José Patricio, exhibition 

catalogue, Galeria nara roesler, Sao Paulo, 2008, pp.1–10. 

asbury, m. ‘Some articulations of modesty and ambition’, Paper trail, exhibition 

catalogue, allsop contemporary, london, 2008, pp.11–14. 

asbury, m. ‘antonio manuel’, artnexus, #68, vol.7, march–may, miami, 2008, 

pp.70–75. 

asbury, m. ‘detanico & lain after utopia: art in the age of information technology’, 

in asbury, m., keheyan, G. (eds) detanico & lain: after utopia, exhibition catalogue, 

Pharos Publishers, nicosia, 2007, pp.62–88. 

asbury, m. ‘ricardo basbaum: “would you like to participate in an artistic 

experience?”’, in documenta 12, kassel, exhibition catalogue, taschen Gmbh, köln, 

2007, pp.220–221. 

asbury, m. ‘antonio manuel: occupations/discoveries’, in asbury, m., keheyan, G. (eds) 

antonio manuel, exhibition catalogue, Pharos Publishers, nicosia, 2006, pp.20–51. 

asbury, m. ‘anna maria maiolino: order and Subjectivity’, in dardo magazine, #3, 

october, Santiago de compostela, rio de Janeiro, 2006, pp.152–173. 

asbury, m. ‘marvellous Perversions’, in unbound: installations by Seven artists from rio 

de Janeiro, exhibition catalogue, Parasol-unit, london, 2004, pp.24–40. 

20 asbury, m. hélio oiticica: Politics and ambivalence in 20th century brazilian art, 

Phd thesis in the history and theory of art, camberwell college of arts, the london 

institute, 2003. 

21 this view is expressed in: 

asbury, m. ‘o hélio não tinha Ginga / hélio couldn’t dance’, in braga, P. (ed.) Fios 

Soltos do experimental: a arte de hélio oiticica, editora Perspectiva, Sao Paulo, 2008, 

pp.27–65. 

asbury, m. ‘this other eden: hélio oiticica and Subterranean london 1969’, in brett, G. 

and Figueiredo, l. (eds.) oiticica in london, tate Publishers, london, 2007, pp.35–39. 

asbury, m. (annotated translation of) Pedrosa, m. ‘environmental art, Postmodern art, 

hélio oiticica’, correio da manhã, 26 June1966, in open Systems: art in the world 

c. 1970, exhibition catalogue, curated by donna de Salvo, tate modern, tate Publishers, 

london, 2005, pp.182–83. 

199

200 

in converSation 

interview with Jordan baSeman by roGer wilSon 

rW: Jordan, I have looked at your work, and I’m absolutely fascinated. What 

I would like to start off by asking is how did you start and how did film/ 

video come to be your chosen medium? 

JB: In 1998 I stopped making sculpture: I literally woke up one day and 

knew that I was never going to make sculpture again. Generally, I wasn’t 

very happy with what I was doing and how I was doing it and what was 

happening to what I was doing – so I just stopped. And then I didn’t know 

what to do. I had made films in undergraduate school in America but that 

was in the pre-digital era so equipment was really expensive. Once I left 

school I didn’t make any moving image work, I just made sculptures and 

installations. So when I stopped doing that in 1998 I didn’t know what I was 

going to do. Around that time I was starting a new job, I used to work at the 

Ruskin School of Drawing and Fine Art in Oxford, so around that time, 

actually on my first day of work, the School took delivery of a whole new 

suite of computers, and I thought it was a good opportunity for me to learn 

how to use them. So I taught myself. It took me over a year to figure out 

how to use a computer. In that time I knew that I wanted to make films, but 

I didn’t know what kind of films I wanted to make or what they would be 

like or anything like that. So those two things dovetailed – learning how to 

use computers and figuring out what kind of film I wanted to make: I 

wanted to make films that had a beginning, middle and an end and that 

were narrative and that told stories. 

rW: So in a way that sense of narrative was the core of what you wanted to do? 

JB: Well my sculptures were always kind of a narrative in a way and in 

some kind of conceptual way there is very little difference in the objects 

that I was making, objects and installations that I was making and the films. 

They were always real narrative. So it wasn’t that much of a conceptual 

leap for me to begin making narrative films, but when I started doing semidocumentary 

narrative films it didn’t feel like, and this is probably my 

ignorance rather than the truth, it didn’t really feel like there were that 

many people in an art context that were making work like that. There were 

a lot more people making films, like Douglas Gordon, or Bill Viola where 

there were more formal concerns and more installation based work as 

opposed to more cinematic-style narrative driven work. 

rW: Your work is also, in a sense, very observational, in that you have a 

prolonged look at a single story or a single storyteller.


JB: Yeah, they are often culled from hours and hours and hours of 

observation, but also interviews and spending time with people and just 

recording anything I can possibly record and then distilling that information 

into some kind of narrative. So I don’t really ever know what I am 

looking for until I find it and I don’t really know what I am doing until after 

it has been recorded. I have a general sense but I don’t really know what 

the outcome will be until I have stopped recording. I try not to intervene 

too much in the recording process beyond obviously being there with 

a camera and asking the participants a few questions and developing a 

relationship with somebody, but my intervention is primarily, aside from 

setting up a shot and stuff like that, my intervention is primarily in the 

editing suite – where I construct narratives from those interviews. I disregard 

the chronology of events and just literally go through the material 

that I have collected and select what is interesting to me and piece together 

something from that. 

rW: The way that you arrive at your subjects, either the story or the 

storyteller can’t be entirely accidental. 

JB: No, participants often respond to advertisements that I place in 

magazines and newspapers, sometimes I approach people, sometimes I get 

introduced to people, it really just depends. Every situation is different. 

When I stopped making sculpture I also decided that I wasn’t going to rely 

on commercial galleries to determine my fate. So, I started to apply for a lot 

of residencies and commissions and I was going to try to take a little bit 

more control over how the work was going to be presented and how the 

work was going to be manifested and generated. So often those residencies 

were situations where I had to go and meet people or I had to work, not 

towards a certain theme, but in a certain location, so yeah, they are not 

accidental at all. 

rW: Also, there seems also to be a sense of gentle tragedy in those portraits, 

I watched 1 + 1 = 1 with that kind of spectral image and what seemed until 

the second voice comes into play, really quite a personalized, localised 

commentary. Then The One About the Camel which is kind of funny in one 

sense but also sad in another, Their Little Heads, which I think is centered on 

personal tragedy. I then watched Don’t Stop ‘til You Get Enough – which, 

perhaps, gained an extra charge ten days after the Michael Jackson death 

but seemed to be a mixture of the absurd and the tragic, so is there a kind of 

linkage to do with moments of minor tragedy and revelation in all of those. 

201

202 in converSation 

JB: Yeah, I mean I guess the work can be melancholic, although I don’t think 

it is only that. I’m trying to make works that are entertaining, that are 

funny, and sad and moving and beautiful, I mean the visual thing is really 

important for me too but I am also enamored by the human voice and 

human experience and the re-telling of those experiences – that really 

interests me a lot. So I am trying to marry up all of those things but in order 

for the work to have some kind of narrative, or impetus, or dramatic 

invention or something, there has to be something that engages the 

audience, there has to be a story that they can become touched by and 

sometimes that is by humor or sometimes that is through tragedy, and often 

it is through both at the same time. The One About the Camel is a good 

example of that – you kind of laugh at first and then you don’t laugh at all 

and then you laugh again at the end. Even 1 + 1 = 1 is a little bit, you know 

there are moments of humor in there but it is not an easy story but it is kind 

of funny, but it’s, I don’t know if it is tragic, but it is moving and I think his 

revelations about his personal experience are what the work is about. 

I think generally all the work is somehow about, this sounds really hokey, 

but about belief systems and how we orchestrate our lives and what is 

important to us and trying to look at the huge variety, the spectrum of 

human experience. 

rW: You mentioned earlier the sound of the voice and I became very well 

aware of that. The textures of the human voice with a variety of accents and 

dialects, are subtly played through the individual pieces. Given your North 

American background the discovery of British voice patterns must have 

generated new dimensions to the work. 

JB: Yeah, I have just done a piece of work in Edinburgh and I didn’t understand 

a word the guy was saying – it was really difficult because he was 

telling me this incredible story about how he lost his legs in a fire and I had 

to keep asking him to repeat himself. It was really horrible because I just 

didn’t understand what he was saying and he knew that I was having 

trouble with his accent. But what did redeem me was that other Scottish 

people I know didn’t understand him either so I didn’t feel so bad. The 

cadence of, not just particular to British voices, voices in general, they say 

a lot, sometimes they betray a lot, sometimes they give away things without 

us even knowing they are giving them away and meaning is a really 

complex thing and often very layered so you can say one thing with your 

words and another thing with the voice that is saying the words. That is 

what really interests me and then I am manipulating the information on


203 

top of that, I mean, with the voice-over work, like 1 + 1 = 1 it is really easy to 

manipulate it because you are not seeing the person speaking so I can start 

with interview number nine and then jump to interview number one and 

then jump back to interview number seven and it all sounds exactly the 

same. And that really interests me – the construction of a narrative from the 

real interview and trying to make that flow and trying to make it sound like 

it is someone naturally speaking, and just speaking as though it were almost 

scripted. There is a lot of stuff going on in there. 

rW: Yes, I was reminded watching the work of a visit I recently made to 

Glasgow, where I sat in the back of a taxi and the taxi driver told me a story 

between the station and my destination, and not one word of which I understood 

and I watched the back of his head and nodded and smiled in the 

rear view mirror through the whole journey and it seemed like almost one 

of your pieces. 

JB: Yes, yes it could easily be. 

rW: Tell me a little bit about the way that you work as an artist and the way 

that you work as an academic, as a teacher – are there linkages there? 

JB: I want to kind of instinctively say no there aren’t any links but of course 

there are in that, and this is where it sounds really hokey, so I apologise, but 

I really believe in making things and that whole process, that transformative 

process, and the development of ideas and personal experience, so 

that is paramount within my own work. In teaching I just believe very 

strongly about people’s personal development and their sense of personal 

achievement and I think my role is to encourage that in a critical context, 

but to encourage that generally. And my role is to assist people in development 

of the formulation of their ideas towards their goal, whatever their 

goal maybe. So there isn’t really any connection except a series of tenets and 

beliefs that I hold close to my heart. I believe in people’s right to make 

whatever they want to make. Context is everything and knowing what you 

are doing and articulating your ideas are really totally important as they 

are in any other field of endeavor or enquiry so I don’t know if there is much 

of a link but a little bit. I try to keep myself out of those situations if truth 

be told, I mean my feelings and my thoughts really aren’t that important, 

the difference I guess is that in the editing suite I can then express myself 

whereas in a teaching situtation it’s not really my place to be expressing 

myself in terms of my beliefs or my opinions because it’s not my work. I am

204 in converSation 

there to encourage people’s ideas and their making and their understanding 

of what it is their making through a critical engage ment with the work. 

rW: But having said that, and I think that you are being quite modest about 

that, I suspect that the kind of methodology you’ve allowed us to get some 

access to in this conversation is probably more important to students than 

you suspect. 

JB: Yeah, probably, it’s hard for me to say. I think I just try to be as honest 

and as fair and as open and as critical as I can be. I think in teaching it’s 

imperative that you try and do all that stuff, it’s just that it’s impossible to 

get a balance, but I think it is striving to get a balance that is the most 

important part and I think that it is hard making art these days – I think 

that it is real hard and I think it is getting harder all the time. I think that 

it is important that people try to do what they want to do but to do it 

with a seriousness, a commitment and with perseverance. 

rW: Tell me just for a moment why you think it is getting harder? 

JB: Well, we are just so saturated with stuff in our culture. We have easy 

access to an enormous amount of information. I love art and contemporary 

culture, it’s just that there is so much to see, so much to listen to, and 

there is so much to read. I’m not just talking about art, that’s just culture. 

So I think, how do you contribute as an artist? It is difficult. There is just 

so much. Everywhere you look there is a constant series of complex ideas: 

and as artists how do we contribute to our culture in a meaningful manner? 

I think that it is a challenge. I think that it’s a real good challenge: but not 

an easy challenge at all. I just mean to be an artist now, you have to be ready 

to accept that challenge, because it is a big, big challenge. But maybe it has 

always been this way for artists … 

Jordan Baseman is a Reader at Wimbledon College of Art. Professor Roger Wilson is the 

former Head of Chelsea College of Art and Design.

PerForminG identity on 

the international StaGe 

interview with Jane collinS by roGer wilSon 

rW: I remember your work very well. I remember it from the conference in 

Wimbledon when you described the piece from the African Choir 

really vividly. Tell me again how that started, how did you get involved in 

that project? 

205 

JC: I have a long association of working on the continent of Africa which 

goes back through most of my professional life. The African Choir was a 

South African project but its genesis was much earlier as a result of some 

work I did in Uganda in the 1990’s. I was at the Sheffield Crucible Theatre 

and then the Royal Court Theatre with Stephen Daldry and Stephen had 

been sent out to Uganda by the British Council where I had worked at the 

end of the Ugandan Civil War. Stephen asked me if I would go back, if I 

would go in his stead to finish this project that he was doing. The project 

was looking at play writing in Uganda and trying to encourage play writing 

in Uganda as part of a British Council initiative with the Royal Court. Now, 

Uganda has its own very rich tradition of Opera and other forms of dramatic 

expression which do not necessarily fall into the category of the well made 

play or what the Royal Court might have considered a well made play at 

that time. Also, my experience of working in Africa over a long period had 

been much more concerned with making new work with companies and 

groups rather than developing individual artists and writers. So I suggested 

that we took a broader approach or rather that we started with a less 

prescribed notion of what the outcomes would be. 

rW: You say ‘we’. Who went to Uganda initially? 

JC: Just myself and Doug Wilson, a stage-manager. The National Theatre of 

Uganda had requested some skills based workshops. Technical and stagemanagement 

skills and part of this initial visit was to set these up. We went 

out with a fairly open brief but we did take some texts , including a number 

of African plays and this was partly to give Doug some potential material to 

base his workshop around, looking at the requirements of staging lighting 

and sound using the texts as a starting point. We were working with a 

group of about 25 people all of whom were performers and all of whom 

were potential stage managers. The thing is, in Uganda there isn’t the same 

distinction between roles that we have in western theatre, the idea of the 

specialist is less recognised, everybody does everything to a certain extent. 

Anyway, during our first couple of days in Kampala we sat down in the 

Green Room at the National Theatre and went through all of these various 

plays, including some Ugandan plays, and the idea was we were going to

206 PerForminG identity on the international StaGe 

make a piece of work as an ensemble maybe using one of the plays as a 

starting point maybe not. But amongst the group there was a unanimous 

response that the play that they wanted to work on was Brecht’s Mother 

Courage and her Children. This is a play which is set during the Thirty Years 

war in Europe and deals with the relationship between business and war; 

the way war is sustained by capital. It is also about survival, and the moral 

compromises that a person is prepared to make to survive during a war. As 

we looked at sections of the text the group kept shaking their heads and 

saying ‘this man Brecht knows our country’. 

rW: And this was in response to their experiences of the Ugandan civil war? 

JC: Yes quite recent experiences. In fact the war was still going on in the 

North and is still going on. So I agreed to try and facilitate our continued 

collaboration to develop the project because the company all felt that this 

was an important thing to do at this particular moment in Ugandan history. 

They saw it as a way of making sense of their own experiences and also a 

means of ending the isolation they had felt during and after the war. There 

was a sense, expressed by the company, that Ugandans were somehow 

intrinsically ‘bad’ people because of the terrible things that they had lived 

through and this was put in a context by this play and that made them feel 

less isolated. In the end it took five years to bring the project to fruition in 

Uganda. The text was translated into Luganda, which is the language of the 

Baganda who live in and around Kampala although there were sprinklings 

of other local languages as well. This made it the first official translation of a 

Brecht play into the African vernacular. Mother Courage or Maama 

Nalukalala, was played by Rose Mbowa who was also Professor of Drama at 

Makerere University, an eminent, actress, writer and scholar. Maama 

Nalukalala, follows the fighting in order to sell supplies to the troops. She 

sustains the war by her business activities and does this in order to feed and 

protect her children from the effects of war. Paradoxically of course she 

loses all of her children in the process. She was a very recognisable figure in 

Uganda. 

rW: So the work was performed in Kampala? 

JC: Yes, at the National Theatre and then it toured to America and 

eventually South Africa. It went to the Kennedy Centre in Washington as 

part of the African Odyssey Festival, except we weren’t in the actual 

Kennedy centre, which is very plush. The company performed in a tent in

PerForminG identity on the international StaGe 

‘the african choir in victorian dress 1891’, from the calling of katie 

makanya, margaret mccord, david Philip, cape town, 1995 

207 

the car park as did all the other African companies. The tent was directly 

under the flight path to Dulles Airport so you couldn’t hear what the 

actors were saying which seemed to imply that an assumption had been 

made that work from Africa would be visual rather than verbal. And 

then the company were due to do some schools workshops and they had 

prepared a very challenging schools programme based on the themes of the 

play and their experiences of the war but the organisers asked them to do 

workshops on drumming and dancing instead. They also asked them to 

bring all the musical instruments along so the children could play them. 

This was at the height of the genocide in Rwanda and of course American 

lack of involvement was very much in the public consciousness and here 

was a play that was looking at all of these issues and people literally just 

wanted to talk about dancing and drumming. This was a real shock to me, 

a terrible moment, but the Uganda response was typically pragmatic. 

They were very polite, ran drumming workshops and taught the children 

African dance. And then one evening coincidentally, this time in the 

Kennedy Centre, a group of Ugandan orphans were performing, singing and 

dancing for charity. They were all beautifully dressed in a kind of uniform, 

a long line of bright colours, with the tallest in the middle going down to 

the smallest at the edges. The audiences flocked to see them and threw loads 

of money into the collection buckets. It was all wonderfully celebratory 

and everyone felt good about it all, especially the audience who clearly felt 

very good about themselves.


So, I started researching issues around the construction of identity, the 

notion of how the ‘other’ is read on stage, how we in the west read Africa 

and the ‘African’ on stage both historically and in contemporary performance. 

This became a major piece of research for me, in retrospect I see it 

as an attempt to make sense of touring Mother Courage with the Ugandan 

company and indeed my long association with work in Africa. I discovered 

Veit Erlmann’s work, specifically his book Music, Modernity and the Global 

Imagination which looks at African Performance in a global context and 

it was through this that I discovered the story of The African Choir. This was 

the story of a choir from South Africa who toured Europe at the end of 

the 19th century and I immediately saw parallels with the Ugandan tour at 

the end of the twentieth. The choir was composed of a well educated, 

articulate Christian elite, apparently on a fundraising mission, who during 

the course of their tour, dressed in ‘native’ costume, in order to attract larger 

audiences. This was a completely constructed identity. Most of what they 

wore was bought in a London market but this was what British audiences 

wanted to see. I received funding from the AHRC to go to South Africa to 

look at the way contemporary artists there see their work as being shaped 

by the global market. This is basically the west so people start to make work 

they think will satisfy western audiences. I wanted to research the human 

cost of this and I also wanted to explore the potential of performance to 

investigate the production and reception of work dealing with these issues. 

So in conjunction with the Market Theatre Laboratory in Johannesburg and 

Professor rose mbowa as mother courage, kampala, uganda, m. Pavelka


with further funding from the AHRC we made a piece of work which 

explored this narrative and these themes. 

rW: That is a really fascinating journey from one end to the other of that 

process, but it is sounded to me as if you started off with a developed 

professional approach to Theatre which is a kind of ensemble playing, you 

as a facilitator, to use your term, working with the material that was out 

there, then at some point you decided that this required a new kind of 

scholarship or enquiry, which is more in our terms academic enquiry which 

needed research into the process, which would then inform that process. 

Can you chart that back into the institution – what does that do to you as an 

academic as well as a creative person? How has that modified what you do? 

209 

JC: I think for me it became very clear that it was no longer enough just 

produce work. There was always an element of critical engagement 

obviously but in a responsive mode as a Director you are always jumping 

about between different agendas. This is also to do with the way in 

which the industry is structured. That gets quite frustrating. On reflection 

I think there were two things going on which converged. One, the 

experience I’ve described above, which was a kind of politicisation and 

another more personal shift. I don’t know if this happens to all artists, the 

moment when you look at your work and you think ‘OK I can do this 

and I just keep on doing this, the same old thing. The same old bag of tricks.’ 

I needed to step back from this. Interestingly this also coincided with 

my moving from having taught mainly in the studio at Wimbledon 

(College of Art) to becoming Contextual Studies Co-ordinator and I saw the 

oppor tunity for undertaking more sustained research, both practical 

and theoretical. Significantly, I also had people like Rose Mbowa in Uganda 

as a kind of inspirational role model. This level of critical engagement 

with the subject and with the processes of production is something I really 

encourage in students. 

rW: That would suggest to me the old definitions, or the old divide between 

the studio and the library, as it were, are not helpful to you. 

JC: They are not helpful anymore. I don’t think they were ever helpful. 

I have been co-editing Theatre Performance Design: A Reader in Scenography 

over the last eighteen months and this research has taken me back to 

re-looking at people like Appia, Meyerhold, Kantor and Brecht. These were 

all practitioners who theorised their own work and critically engaged with


the contemporary. They saw no divide between those two spheres of 

activity. Brecht, ever the pragmatist, suggested you need a pocketful of 

theories. 

rW: Yes, and I can see that the western culture of possessive individualism, 

as challenged by Brecht first and then Kantor in that kind of radical 

ensemble approach is an interesting one educationally, it has a resonance 

with the way we behave within the academy, within the institution as well, 

I think. 

JC: Yes I think we have created false divides driven by individualism and 

sustained by notions of the boundaries of the specialism. In my experience 

collaboration and interdisciplinarity do not dilute the work produced, they 

sustain and strengthen it. Everyone’s process gets opened up to 

interrogation and challenge. You can’t make any assumptions or rest on any 

certainties. 

rW: I want to go back to something you said earlier, the observation that 

you made about the ways in which the current contemporary South Africa 

work is fulfilling an expectation which is probably slightly manufactured 

by what they see as a global cultural exchange or cultural economy. That 

kind of theme is too big for an individual to carry isn’t it? If you were setting 

out to address that level of cultural manipulation the first thing you would 

do is not to disappear somewhere on your own and do it, you’d engage with 

other people, so maybe the scale of the theme, the scale of the ambition, for 

an artist or scholar to take that on requires you to collaborate, requires you 

to be part of a wider working practice. 

JC: I hadn’t thought of it like that, that’s interesting. 

rW: From Theatre that is probably what you do anyway you see, us lone 

artists don’t do that so easily. 

JC: Perhaps, although Warhol managed to address the cultural economy, 

certainly cultural production in a singular way although there was a 

dialogue of sorts going on with the medium and the materials and the 

people he chose I suppose. Nobody works in vacuum. In theatre very often 

themes on this scale are dealt with through the experience of individuals. 

However, theatre is a collaborative art form so the degree of control you 

might wish to exercise as a lone artist doesn’t really feature. Even those who


are considered an auteur in theatre, people like Lepage or Robert Wilson, 

have their teams of collaborators. 

rW: It’s a real curricular challenge, in academic terms, if you and I would sit 

down and try to fashion a curriculum based on your experience and my 

experiences in a sense encountering those issues, it’s a new way of writing 

it, it’s a new way of imagining the curriculum. 

JC: Yes, and a very timely one. For me, one of the exciting things about the 

Graduate School what, the graduate school represents, is that for the 

current generation of students, what we might have perceived as discrete 

disciplines, they see as fluid and interrelated. This is not about threatening 

the individual vision or undermining the specialism but rather recognising 

the potential that exists around the edges of the specialism, the discursive 

space that opens up beyond and between those boundaries. It is in those 

spaces that the most interesting new work is emerging. The challenge to 

you and I of course would to create the kind of curriculum that retains our 

core subject values but that is flexible enough to respond to these changes 

as and when they occur. A ‘rapid response’ curriculum. 

Jane Collins is a Reader and Contextual Studies Coordinator at Wimbledon 

College of Art. Professor Roger Wilson is the former Head of Chelsea College 

of Art and Design. 

211

212 

[Interior: The common room, Moderna Museet 

v3.0. A beautiful lounge, comfortable seating, 

local lighting, graduated windows with 

breathtaking views of the sea. The Executive of 

Moderna v3.0, Ayan Lindquist, is waiting to be 

interviewed in real-time from Guangzhou, in the 

Asian Multitude network. She is browsing screens 

as a face fades-up on the wall window.] 

ms chan: Nihao, hej, hello! 

Hello is that Ayan Lindquist? 

ayan lindquist: Nihao, hello. 

Yes Ms Chan, this is Ayan. 

We are in sync. 

ms chan: Thank you so much for finding time… 

You must be very busy with the centenary launch 

ayan lindquist: It’s a pleasure. 

We really admire your work on mid 20th century 

image ecologies. 

Especially your research on archival practice 

ms chan: Well I’m flattered. 

For many Asian non-market institutions, your 

pioneering work with long-term equity contracts 

has been inspirational too! 

ayan lindquist: Oh, there was a whole team of us 

involved… 

So, lets begin. 

ms chan: Ok. 

Just to refresh, for the centenary I’d like to archive 

your live-thread recall of Moderna. 

ayan lindquist: Yep, that’s fine, I’ve enabled 

about 20 min. 

muSeum FutureS: live, 

recorded, diStributed 

neil cumminGS and marySia lewandowSka 

centenary interview 2058 

ms chan : Ok, live. 

Maybe we could start with some personal history. 

What were you doing before you became 

executive at Moderna Museet 3.0? 

ayan lindquist: Well, I joined Moderna 2.0 in 

2049, almost ten years ago. 

First as adviser to the development working 

group. Then as part of the governance team. 

I participated in the forking of Moderna 3.0 in 

2'51. 

And was elected fixed-term executive in 2'52, … 

uhmm, … until today. 

I’ve got another four years in the post. 

ms chan: And before that? 

ayan lindquist: Immediately before joining 

Moderna I collaborated in the exhibition 

programme at the MACBA cluster in Mumbai for 

six years. 

Although, more in resource provision. 

That’s where we worked on a version of the equity 

bond issue you mentioned. 

ms chan: And before that? 

ayan lindquist: In programming again at Tate in 

Doha for four years, particularly developing 

exhibitionary platforms. 

And even before that, I participated in research on 

cultural governance, for the Nordic Congress of 

the European Multitude for six years. 

I suspect exhibition agency and governance are 

my real strengths. 

ms chan: Maybe we should dive into the deepend. 

Could you briefly say something of why Moderna 

3.0 devolved, and why was it necessary?

neil cummings and marysia 

lewandowska, ayan and 

ms chan, still from museum 

Futures; distributed moderna 

museet Stockholm, Sweden, 

hd video 32 min, 2008–09 

ayan lindquist: As you can imagine there was a 

lot of consultation beforehand. It’s not something 

we did without due diligence. 

For almost forty years Moderna v2.0 has explored 

and developed the exhibitionary form. 

We pioneered the production of many collaborative 

exhibitions, resources and assemblages. 

We helped build robust public – what you prefer 

to term non-market cultural networks. 

And scaled those networks to produce our 

icommons, part of the vast, glocal, Public Domain. 

We have continually nurtured and developed 

emergent art practice. 

Moderna can proudly, and quite rightly say that 

we participated in shaping the early 21st century 

movement of art. From an exhibitionary practice 

based around art-artefacts, spectacle and consumption 

– to that of embedded co-production. 

ms chan : Do you mean that … 

ayan lindquist: Of course there are many 

complex factors involved … 

But we were agent in the shift from a heritage 

cultural mind-set of ‘broadcast’, to that of 

emergent, peer-to-peer meshworks. 

muSeum FutureS: live, recorded, diStributed 

Following the logic of practice, we became an 

immanent institution. 

ms chan : Could you say a … 

ayan lindquist: Uhmm … 

Although having said all of that … 

We’ve not really answered your question, have 

we? 

Given that Moderna 2.0 continues its exhibitionary 

research, some of us believe that 

exhibition as a technology, and immanence as 

an institutional logic needed to be subject to 

radical revision. 

So this is what we intend to explore with 

Moderna 3.0, we want to execute some of the 

research. 

To enact. To be more agent than immanent. 

213 

ms chan : Ok. I wondered if you could you say a … 

ayan lindquist: Sorry to over-write, but in a way 

the forking follows something of the tradition of 

Moderna Museet. 

Moderna 2.0 mutated through 1.0 because the

214 muSeum FutureS: live, recorded, diStributed 

tension between trying to collect, conserve, and 

exhibit the history of 20th century art, and at the 

same time trying to be a responsible 21st century 

art institution proved too difficult to reconcile. 

Moderna 1.0 continues its mandate. 

Its buildings and collection has global heritage 

status. 

In turn, this early hybridization enabled Moderna 

2.0 to be more mobile and experimental. 

In its organizational form, in its devolved 

administration, and its exhibition-making 

practice … 

ms chan : Could you just expand on the ‘more 

complex factors’ you mentioned earlier … 

ayan lindquist: That’s a big question … 

Let me re-run a general thread from composite … 

[…] … uhmm 

[ayan taps the terminal/tablet] 

Well, a good place to start might be the bifurcation 

of the market for ‘contemporary art’ from 

emergent art practices themselves. 

Although the public domain has a long genealogy. 

Waaaay … back into ancient European land rights, 

‘commons’ projects and commonwealth’s. 

It was the advent of digitalisation, and particularly 

very early composite language projects in 

the 1980s which – and this appears astonishing to 

us now, were proprietary – that kick-started what 

were called ‘open’, ‘free’ or non-market resource 

initiatives. 

Of course, these languages, assemblages and the 

resources they were building needed legal 

protection. Licenses to keep them out of property 

and competitive marketization. 

The General Public License, the legendary GPL 

legal code was written in 1989. 

ms chan : It’s not so old! 

ayan lindquist: So then, text and images – 

either still or moving; artefacts, systems and 

processes; music and sound – either as source 

or assembled; all embedded plant, animal and 

bodily knowledge; public research, and all 

possible ecologies of these resources began 

to be aggregated by the viral licenses into our 

Public Domain. 

Enumerate on fingers? 

Landmarks include the releasing of the sequenced 

human genome in 2001. The foundation of the 

‘multitude’ social enterprise coalition in 2'09. 

Intellectual Property reform in the teen’s. 

The UN-Multitude initiated micro-taxation of 

global financial transactions in 2'13 – which 

redirected so many financial resources to Public 

Domain cultural initiatives. 

Well I could go on, and on, and on. 

But anyway, most participants will be overfamiliar 

with this thread. 

ms chan : Remind me, when did Moderna 

affiliate? 

ayan lindquist: In-Archive records suggest 

Öppna dagar or Härifrån till allmänningen, 

with Mejan … 

I’m sorry. 

We did some collaborative ‘open’ knowledge 

projects with Mejan in Stockholm in late 2'09. 

And when Moderna 2.0 launched in 2'12 we 

declared all new knowledge General Public License 

version 6, compliant. 

ms chan : Wasn’t that initiated by Chus Martinez, 

one of your predecessors? 

She seems to have shaped early Moderna 2.0, 

which in turn, became an inspiration globally.

ayan lindquist: It’s nice you say so. 

Since 2'12 we collaborated with the fledgling 

Nordic Congress, in what was to become the 

European Multitude, to form the backbone 

of the Public Domain cultural meshwork. 

It eventually convened in late 2'22. 

So we were at source. 

ms chan : Ok. Uh ha, thanks. 

ayan lindquist: Now, simultaneous with the 

exponential growth of the Public Domain, was 

the market for what we still call ‘contemporary 

art’. 

Many historians locate one of the sources for this 

‘contemporary art’ market, as the auction in New 

York in 1973 of the art-artefact collection of Robert 

and Ethel Scull. 

An extraordinary collection of paintings by popmale-artists 

like Andy Warhol, Claes Oldenburg, 

Ed Ruscha, and … er … I recall … Jasper Johns. 

ms chan : Ok. From composite I’m streaming 

the John Schott analogue film of the sale, from 

New York MoMa’s Public Domain archive. 

ayan lindquist: It’s a great film, and many of the 

art-artefacts have subsequently devolved to 

Moderna. 

ms chan : I have the catalogue. 

It’s present, … I’m browsing. 

ayan lindquist: That auction set record prices for 

many artists. 

It also connected art-artefacts with financial 

speculation in a way previously unimagined. 

By 1981 one of the ‘big two’ auction houses, 

Sotheby’s, was active in 23 countries and had a 

‘contemporary art’ market throughput of 4.9 


215 

billion old US dollars. 

Soon, global Trade Fairs mushroomed. 

Commercial galleries flourished and a sliver of 

‘branded’ artists lived like mid 20th century 

media oligarchs. 

By 2'06 complex financial trading technologies 

were using art-artefacts as an asset class. And most 

public Modern Art Museums were priced out of 

the ‘contemporary art’ market. 

In retrospect, we wasted an enormous amount of 

time and effort convening financial resources to 

purchase, and publicly ‘own’ vastly overpriced 

goods. 

And we wasted time wooing wealthy speculators, 

for sporadic gifts and donations too! 

ms chan : That connects! 

It was the same locally. 

The conflictual ethical demands in early Modern 

Art Museums were systemic. 

And obviously unsustainable. 

Reversing the resource flow, and using 

Transaction Tax to nourish Public Domain 

cultural meshworks seems, … well, inevitable. 

ayan lindquist: Ahhh, sometimes, rethreading is 

such a wonderful luxury! 

Anyway, auction houses began to buy commercial 

galleries. 

And this dissolved the tradition of the primary – 

managed, and secondary – free art market. 

As a consequence, by 2'12 the ‘contemporary art’ 

market was a ‘true’ competitive market, with 

prices for assets falling as well as rising. 

Various ‘contemporary art’ bond, derivate and 

futures markets were quickly convened. 

And typically, art-asset portfolios were managed 

through specialist brokerages linked to banking 

subsidiaries.

216 muSeum FutureS: live, recorded, diStributed 

ms chan : Ok. I also see some local downturns 

linked to financial debt bubbles bursting. 

Spectacularly in 2'09, again in 2'24 and again in 

2'28. 

Market corrections? 

ayan lindquist: Probably. Market corrections and 

their repercussions. 

Overall the market expanded, matured in 2'27 and 

has remained sufficiently resourced ever since … 

More or less. 

By 2014 formerly commercial galleries, the 

primary market, had became a competing 

meshwork of global auction franchises. 

By 2'25 they needed to open branded academies 

to ensure new assets were produced. 

ms chan : I can see the Frieze Art Academy in 

Beijing. 

Was that was one of the earliest? 

ayan lindquist: The market for ‘contemporary 

art’ became, to all intents and purposes, a 

competitive commodity market, just like any 

other. 

Of course, useful for generating profit and loss 

through speculation. 

And useful for generating Public Domain 

financial resources, but completely divorced 

from emergent art practice. 

ms chan : Ok. This might be a bit of a dumb query. 

But does Moderna feel that in the self-replication 

of the ‘contemporary art’ market, that something 

valuable has been lost from public Museums? 

ayan lindquist: To be perfectly honest, no. 

No, we only experience benefits. 

You see, through the UN Multitude distribution of 

Transaction Tax, we’re much better resourced. 

Which in turn, has enabled us to develop our 

local cluster and node network. 

Generally, competitive markets thrive on artificial 

difference and managed risk. 

They are just too limited a technology to nurture, 

or challenge, or distribute a truly creative art 

practice. And just take all these private art-asset 

collections, built by speculator-collectors, and 

supported through private foundations. 

Apart from the hyper-resourced, they all 

ultimately fail. Then they’re either broken-up and 

re-circulated through the ‘contemporary art’ 

market. Or, more usually, devolve to the 

multitude and enter public Museum collections. 

Here at Moderna, we have benefited enormously 

from a spate of default donations. Consequently, 

we’ve a comprehensive collection of 

‘contemporary’ art-artefacts through reversion. 

ms chan : Ok. Then this was the basis for the 

amazing Moderna Contemporary Art exhibition in 

Shanghai in 2'24. 

It was reconstructed as a study module while 

I was at the Open University in 2'50. 

I can still recall it. What a collection! What an 

amazing exhibition! 

Ok, so maybe here we could locate an ethic 

approaching something like a critical mass. 

As Moderna Museet’s collection. exhibitions and 

activities expanded – and of course other 

Museums too – the ethic of public generosity is 

distributed, nurtured and also encouraged. 

Everyone benefits. 

I can see that when the Ericsson group pledged its 

collection for instance, it triggered a whole 

avalanche of other important private gifts and 

donations. 

Like the Azko – la Caixa collection, or the 

Generali Foundation gift. 

Or, like when the Guggenheim franchises

collapsed as the debt-bubble burst in 2'18, and 

the Deutsche Bank executive reverted their 

collection. 

ayan lindquist: [laughter] 

We think that’s a slightly different case, and 

certainly of a different magnitude! 

Although it’s a common trajectory for many 

public/private museum hybrids. 

ms chan : Ok, it’s certainly true of museums 

locally. 

The former Ullens Center for Contemporary Art 

in Beijing, … and MOCA in Shanghai for instance. 

ayan lindquist: That connects, the increased 

resources, and the gifts, donations and reversions 

enabled us to seed our local cluster devolution. 

From 2'15 we invested in partnerships with the 

Institutet Människa I Nätverk in Stockholm; with 

agencies in Tallin and also Helsinki. 

With the early reversion of the Second Life hive, 

and with Pushkinskaya in St Petersburg. 

We created, what was rather fondly termed, the 

Baltic cluster. 

ms chan : Ok, from composite I see there had been 

an earlier experiment with a devolved Moderna. 

During the enforced closure in 2'02–2'03, 

exhibitions were co-hosted with local institutions. 

There was even a Konstmobilen! 

ayan lindquist: Ja, and it was always considered 

something of a success. 

Distributing and re-imagining the collection 

through the cluster – incidentally we cut our 

carbon debt to almost 12 – radically scaled our 

activities. 

So, while developing locally, we also began to 

produce a wider Moderna Museet network. 


217 

The first Moderna node opened in Doha in the 

United Arab Emirates. 

We participated in the local ecologies 

restructuring of resources; from carbon to 

knowledge. That was in 2'18. 

In 2'20, Mumbai emerged with the Ex Habare 

three-year research project. 

In cooperation with several self-organised 

Research Institutions – I recall Nowhere from 

Moscow, the Critical Practice consortium in 

London, and Sarai from Delhi. 

And as you already mentioned Shanghai 

launched in 2'24 with the landmark Contemporary 

Art exhibition, then the Guangzhou node went 

live in 2'29 with La Part Maudite: Bataille and the 

Accursed Share. 

A really timely exhibition! 

It explored the distribution of trust and ‘wellbeing’ 

in a general economy. 

The ethics of waste and expenditure; and the love, 

and terror, implicit in uninhibited generosity. 

Isn’t that node’s location near your present 

Guangdong Museum hub? 

On Ersha Island, by the Haiyin Bridge? 

ms chan : We’re almost neighbours! 

As for the La Part Maudite: much of that source 

work is still live, and still very present. 

ayan lindquist: We saw you did some restoration 

to the image server codecs recently, thank you for 

that. 

ms chan : Ok. A pleasure. 

ayan lindquist: Our most recent node emerged 

in San Paulo in the Americas in 2'33. 

Through the agency of the Alan Turing Centenary 

project Almost Real: Composite Consciousness.

218 

ms chan : Ok, if I may, I’d just like to loop back 

with you, to the 20s and 30s. It’s when many 

academic historians think we entered a new 

exhibitionary ‘golden age’ with Moderna. 

You co-produced a suite of landmark projects, 

many of which are still present. 

ayan lindquist: We’re not too comfortable with 

the idea of a ‘golden age’. 

Maybe our work became embedded again. 

Anyway, if there was a ‘golden age’ we’d like to 

think it started earlier, maybe in 2'18. 

We set about exploring a key term from early 

machine logic – ‘feedback’. 

And we made a re-address to the source, the 

legendary Cybernetic Serendipity exhibition at the 

Institute of Contemporary Art in London; on the 

exhibition’s 50th anniversary. 

ms chan : From composite – I see Tate has many 

Public Domain archive resources – it’s recorded as 

the first exhibitionary exchange between visual 

art and digital assemblies. 

ayan lindquist: For us at Moderna, that 

exhibition set in motion two decades of recurrent 

projects exploring Art, Technology and Knowledge. 

Its most recent manifestation, linked to the 

Turing research, has resulted in Moderna 3.0’s 

cooperation on a draft amendment to Article 39 of 

the United Nations Declaration of Human Rights. 

We are seeking to extend certain rights to organic/ 

synthetic, intelligent composites. 

ms chan : You’re co-producing sovereign 

composites! 

ayan lindquist: Yes, yes that’s what I was hinting 

at earlier; about Moderna being more agent, and 

executing as well as exhibiting. 


ms chan : Now I understand, sovereign 

composites! 

I can see Moderna’s centenary proposal for a 

Museum of Their Wishes. 

It’s absolutely amazing! 

I know it’s a very common thread, but definitely 

still worth rerunning. 

The one about the foundation of the Moderna 

Museet’s collection with the Museum of Our 

Wishes exhibition in 1962. 

And how this was revisited in 2006 with the 

Museum of our Wishes II – to address the 

lack of women artists within the collection. 

ayan lindquist: We see our legacy as a resource, 

not a burden. 

It’s something we have been working with for a 

while, recursive programmes. 

It’s at root. 

Actually, Wish II was finally fulfilled in 2'22, when 

some Dora Maar photographs reverted. 

But, with the emergence of self-conscious 

composite intelligence, addressing ‘their’ wishes 

seemed appropriate, even necessary. 

And it’s true, if the draft amendment is ratified, it 

will be an amazing achievement. 

ms chan : Ok. Even if you don’t like the term, 

maybe a new ‘golden age’ is beginning? 

ayan lindquist: For that, we’ll all just have to 

wait and see. 

But earlier, you were right to suggest that in 2'20, 

with Ex Habare The Practice of Exhibition, we 

consolidated the idea of emergent art. 

And, distributed new institutional practices. 

ms chan : In the Asian network it’s common 

knowledge that Ex Habare reaffirmed the role of 

the Museum in civil society.

ayan lindquist: Well to start, we un-compressed 

the Latinate root of exhibition, ex habare, to 

reveal the intention of ‘holding-out’ or ‘showing’ 

evidence in a legal court. 

It’s obvious, that implicit in exhibition is the 

desire to show, display and share with others. 

By grafting this ancient drive, to desires for 

creative co-production, we enabled exhibitions 

to remain core to Moderna’s aspirations. 

It’s also true that to source, participate, 

co-produce and share, to generate non-rivalous 

resources, are vital to the constitution of 

a Public Domain. And indeed, a civil society. 

There’s a neat homology. 

Ex Habare distributed these values, and it’s also 

true, they replicated at an astonishing speed. 

ms chan : It’s so good to be reminded! 

Even I tend to take the power of exhibition as a 

technology for granted. 

Do you think that this is because artists and 

others moved into collaborative relationships 

with Moderna? 

ayan lindquist: Var ska vi börja? 

Artists and others realised … that the 19th century 

ideological construction of the artist, had reached 

its absolute limit. 

As configured, art as a ‘creative’ process had 

ceased to innovate, inspire or have any critical 

purchase. 

Quite simply it was irrelevant! 

ms chan : Everywhere, except in the 

‘Contemporary Art’ market! 

ayan lindquist: [laughter] 

That heritage ‘broadcast’ communication model 

of culture that we mentioned earlier, privileges 


219 

creative exchanges between artist and media in 

the studio / manufactory. 

Exchanges which were distributed through 

competitive trade and collecting institutions. 

At best, ‘broadcast’ extended a small measure of 

creative agency to the encounter between 

audiences – often referred to as passive ‘viewers’ – 

and artworks. 

ms chan : Ok, I have material from composite. 

So even when this model was disrupted; like in 

1968, the Modellen; A Model for a Qualitative Society 

exhibition at Moderna for example. 

It looks like we fell back into, uhmm … 

Perhaps the wider creative ecology was just not 

receptive enough. 

ayan lindquist: You might be right Ms Chan. 

It was really when artists began to imagine art as a 

practice, and explore creativity as a social 

process … 

ms chan : Sometime around the late 1990s 

perhaps? 

ayan lindquist: … Yes, yes, then we could detect 

something of a change. 

Artists began to engage creatively with 

institutions, and vice versa. 

With all aspects of institutional practice; of course 

through co-producing exhibitions, but also 

through archival projects – which you’ve done so 

much to research Ms Chan – through organisational 

engagement, administration, and so on … 

ms chan : Ok, I’m browsing material from composite 

on Institutional Critique. 

Michael Asher and Hans Haacke, they seem 

to be mostly artists from the America’s in the 

1970s–1980s

220 

ayan lindquist: Not sure if those are the 

appropriate resources? 

Artists associated with Institutional Critique, 

I recall Michael Asher and Hans Haacke, but also 

Julie Ault and Group Material, or Andrea Fraser. 

They had a much more antagonistic and 

oppositional relationship with exhibitionary 

institutions. 

They resented being represented by an exhibitionary 

institution. 

Especially those linked to a 19th century ideology. 

ms chan : Ok, now I’m browsing material on 

Sputniks, … EIPCP, Bruno Latour, Maria Lind, 

Arteleku, Van Abbe Museum’s Plug-Ins, Superlex, 

Franc Lacarde, Raqs and Sarai, Moderna’s projects, 

Bart de Baer … 

ayan lindquist: Yes, this constellation feels more 

relevant, as artists rethought their practices, they 

recognised themselves as a nexus of complex 

social process. 

And that creativity was inherent in every 

conceivable transaction producing that nexus. 

At whatever the intensity, and regardless of the 


scale of the assembly. 

The huge challenge for all of us, was to attend to 

the lines of force, the transactions, and not be 

dazzled by the subjects, objects or institutions 

they produced. 

We recall that it was under these conditions that 

artists’ practices merged with Moderna. Merged 

into relations of mutual co-production. 

And so in exchange, Moderna began to think of 

itself as a creative institution. 

Subject to constant critical and creative 

exploration. 

ms chan : Ok, so these were the forces generating 

Moderna 2.0 in 2'12. 

ayan lindquist: You’re right, we simply stopped 

thinking of ourselves as a 19th century museum – 

which had to constantly expand, commission 

signature buildings, evolve huge administrative 

hierarchies – exhibition, education, support, 

management and so on. 

And more on instituting – in the ancient sense of 

the word – of founding and supporting. 

On instituting creative practice. 

neil cummings and marysia 

lewandowska, ms chan, still 

from museum Futures; 

distributed moderna museet 

Stockholm, Sweden, hd 

video 32 min, 2008–09

So, we started to play, risk, cooperate, research and 

rapidly prototype. Not only exhibitions and 

research projects, but ourselves. Some values were 

lost – which is always painful, and yet others were 

produced. And those most relevant maintained, 

nurtured and cherished. We learnt to invest, longterm, 

without regard for an interested return. 

And that’s how we devolved locally, and 

networked globally. 

We’ve had some failures; either exhibitions 

couldn’t convene the necessary resources, or we 

made mistakes. 

But as an immanent institution, most experiences 

were productive. 

Ahm … Not sure if that jump-cut thread answered 

your query …, 

ms chan : Sort of … 

ayan lindquist: The short answer could be that 

artists have transformed Moderna, and we in turn 

transformed them. 

ms chan : Ok, but that last sound-bit is rather 

banal. 

Although, the thread’s not uninteresting. 

ayan lindquist: Ironically, our playful 

devolution of Moderna 2.0 reanimated the 

historical collection displayed in version 1.0. 

We freed art-artefacts from their function, of 

‘recounting’ the history of 20th century Art; 

however alternative, discontinuous, or full of 

omissions we imagine that thread to be. 

And once free, they engaged with real-time 

discursive transactions. 

They became live again, contested nodes in 

competing transactions of unsettled bodies of 

knowledge. 


221 

ms chan : Um …, I’m not sure I’m following this … 

As time is running out, and there’s so much to 

cover. 

I just wonder if you could mention … 

Could you recall, even briefly, some beacon 

exhibitions. 

Like Transactional Aesthetics, or the Ecology of Fear. 

ayan lindquist: Rädslans ekologi, or the The 

Ecology of Fear was timely, given the viral 

pandemic throughout DNA storage – so many 

systems were compromised; and the various 

‘wars’ that were being waged, against difference, 

and public attention … for material resources, 

energy, … 

And I guess the same with Transactional Aesthetics. 

It was the right moment to be participating in the 

production of local social enterprise and wellbeing 

initiatives … 

ms chan : Could you just mention the legendary 

Alternative Research in Architecture, Resources, 

Art and Technology exhibited at Moderna in 1976. 

Which you revisited on its 50th anniversary, 

in 2'26. 

From composite I can see archive materials. 

They’re present. 

ayan lindquist: There’s not much to add. 

Obviously the first version of ARARAT explored 

appropriate local technologies for buildings and 

urban systems – using sustainable resources. 

In 1976, this was the beginning of our understanding 

of a global ecology, and of the finite 

nature of mineral resources; especially carbon. 

Given our population reached 8 billion in 2'26 it 

was vital to revisit the exhibition. 

To somehow, take stock … 

The first shock was that so little of the initial 

exhibition was recoverable – we invested in

222 

reconstruction and archival research – it’s all 

Public Domain composite now. 

And the second, was the realisation that so little 

of the source exhibition had had any real effect. 

We suspect a serious flaw in the exhibitionary 

form. 

ms chan : The lack of resources from those early 

exhibitions is always disheartening. 

It’s hard to imagine a time before, even 

rudimentary Public Domain meshworks, 

embedded devices, … and semantic interfaces. 

ayan lindquist: Well, one of the great outcomes 

of the Moderna Golden Jubilee celebrations in 

2'08, is that they revisited and reflected on the 

preceding fifty years. 

We recently found shadow-traces for a Moderna 

History book. 

And for reasons that are not entirely clear, it 

remained unpublished during the Jubilee celebrations 

– so, we intend to issue a centenary heritage 

publication, we’ll be sure to send you a copy. 

ms chan : I see we have overrun, I’m so sorry. 

I just wonder before we disconnect, what is 

Moderna re-sourcing in the near future? 

ayan lindquist: Well, for us, there are some 

beautiful assemblies emerging. 

Real-time consensus is moving from a local to 

regional scale. 

Triangle in the African Multitude is distributing 

amazing regenerative medical technologies. 

Renewable energy has moved through the 

74% threshold. 

Um … live, almost retro, music performance is 

popular again 

Nano-technology has come of age, and 1:1 

molecular replication will soon be enabled, linked 


to scanning technology hardwired to the manufactories 

in the Asian network. 

Outside of heritage, singularity will be overwritten 

by difference. 

Now that’s exciting! 

ms chan : Exciting indeed! 

Thank you so much Ayan. Its been a privilege, 

really. 

Enjoy the centenary celebrations, we’ll all be 

there with you in spirit. 

Zai Jian, goodbye 

ayan lindquist: Thank you Ms Chan. 

Goodbye, zai jian, hejdå 

Neil Cummings is a Professor at Chelsea College of 

Art and Design.

drawn identitieS: 

PePSi, ShakerS and tattooS 

StePhen FarthinG 

first a brief note on drawing 

I no longer recognise much of a divide between writing and drawing, for me, 

the two travel hand in hand towards very similar goals. 

Leonardo’s drawing books contain as many words as images, probably 

more, when words failed him, images took over and when an image didn’t 

do the job his pen moved on to shape words in support. 

Both writing and drawing involve the translation of multidimensional 

events and concepts into readable two-dimensional matter. In the case 

of drawing, directions and instructions are turned into lines, volume into 

contours, sounds into shapes, shadows into tone, colors into words and 

words into marks. Marks that can be drawn using sets of established 

conventions, built from on-the -spot improvisations, or constructed from 

a combination of the two. In the case of writing and as it happens Morse 

code the entire world is translated into lines and dots. 

identities 

However complex our identities seem, most of us have just one passport, 

and as a result one identity. Some have two, but any more than that we 

know from the movies usually means trouble. We are born with: racial, 

ethnic and national identities, family names, dates of birth, finger prints, 

footprints, retinas that can be scanned and DNA that can be swabbed. Some 

of these identifying features we can wrestle with, with pencil and paper in 

the life room, the rest are either too subtle , too complex or too difficult to 

pin down in that way. 

We travel through life with: a birth certificate, a given name, and what 

were known on the old UK passport as distinguishing features. After those 

primaries we have: height, weight and a hair color , a postal address , various 

ID , photographs, a signature, pin numbers and bar codes that as time 

progresses we update. All of these are designed, in one way or another to 

establish and act as proof of our identities. 

At no point in our lives are we more aware of the importance of being 

able to establish proof of our identity than when we cross a regulated 

boarder. This easily measurable side of our identity, the side that post 9/11, 

government agencies call biometrics, is what we now use to authenticate 

identity. At a governmental level the art of recognition is now software 

driven, it is the scan-able , match-able, digitally stored images and data not 

the memory of a time serving policeman that today will detect a forgery and 

catch a thief. Artists I suspect are less interested in facial recognition 

223

224 

drawn identitieS: PePSi, ShakerS and tattooS 

software national security and fraud than they are in the intangible, the 

difficult to measure and the constructed. Identities need not after all be for 

life, they can as any brand advisor, crook or member of the clandestine 

service tell you manipulated, reconstructed and fabricated. 

At this point it may be worth reflecting on what we remember of the 

stories of some artists lives: Duchamp, Dali and Warhol, all make interesting 

reading, each I suspect was fully in control of their “Brand” identity. 

pepsi, shakers and tattoos 

Writing and drawing doesn’t have to be all tied up in schools, pens, pencils 

and paper, you can write and draw just about anywhere, with, just about 

anything. You can work with a needle in flesh, a diamond on glass even an 

aircraft in the sky. What’s good about taking writing and drawing on this 

kind of excursion is that the medium becomes an active carrier, it no longer 

sits in the background as a probability, it gets involved in actively constructing 

meaning. If for example we take the phrase Drink PepsiCola and tattoo 

it onto someone’s forehead, then engraved it onto a mirror and finally write 

it into a perfect blue sky, each time as you re-read the phrase written into its 

new location and medium its meaning is conditioned by that context. 

Sky writing is created by vaporizing fluid in a plane’s exhaust system to 

form a white trail. Flying at about ten thousand feet the pilot uses the plane 

as a drawing instrument to complete an image that is usually five to ten 

miles across. During the 1930s Pepsi-Cola became the first corporation to 

write its name ‘onto’ the skies of America. It is said that the campaign was 

so effective that incredulous people would sometimes phone the company 

to tell them that God had written the name of their product in the sky. 

This is how the branding of Pepsi-Cola started and its identity, as a fresh 

all American product was established. A red plane in a blue sky leaving a 

white vapour trail that gave the impression of having arrived, just like the 

clouds in the sky, by virtue of the hand of God. 

Two hundred years before the Pepsi campaign got under way the United 

Society of Believers in Christ’s Second Appearing, established a community 

in Manchester, England. By 1774 the ‘Shakers’, as they became known, had 

relocated under the guidance of their spiritual leader Anne Lee to rural New 

York. The Shakers were responsible for inventing: the spring clothes peg, 

rotary harrow, circular saw and wheel driven washing machine, they are 

best remembered today however, for their rational furniture design, 

loathing of art and celibacy. The former being the reason they are best 

remembered, the latter being all most certainly the cause of their demise.


Their views, not just on painting and drawing but all two dimensional 

imagery were unambiguously broadcast in an 1845 ordinance. 

‘No maps, charts and no pictures or paintings, shall ever be hung up in 

your dwelling-rooms, shops or offices. And no pictures or paintings set in 

frames, with glass before them, shall ever be among you.’ 

In spite of the ordinance, a small group of shakers made over a twentyyear 

period just short of 200 drawings. Variously referred to in Shaker 

literature as: ‘sheets’, ‘lines’, ‘rewards’, ‘presents’, ‘gifts’ and ‘tokens’ any 

connection with drawing or art was studiously circumnavigated. 

These images were completed by just 16 members of the sect between 

1839 and 1859, on ordinary stationery in pen and ink, that was sometimes 

coloured-in. Known not as artists or scribes but as ‘Instruments’ the 

sixteen makers of these drawings, thirteen women and just three men were 

positioned within Shaker society as ‘conduits’. They were not expected 

to be thinking, imaginative people with personalities and identities that 

conditioned what they drew the expectation was that they were disinterested 

translators of messages from the spirit world. Sometimes translating 

their own ecstatic visions into two-dimensional images, more often the 

visions of others. Their drawings developed their appearance from the 

vernacular visual traditions of: needle point, quilting, family trees, Sunday 

school texts and home made maps. They were however neither made 

to decorate houses nor hang on walls, more likely they were intended to be 

kept as records and used as teaching aids in conjunction with the spoken 

word to retell stories and underscore the communities spiritual beliefs. 

Both named and designed to circumnavigate the ordinance that forbade 

their making, each ‘Gift’ set out to become a factual account of an experience 

or event. Each however was a failure, not because it told the story 

badly, but because as a free translation it failed to conceal the individuality, 

resourcefulness and identity of the maker. Authorship, I suspect , is most 

visible when the draftsman or draftswoman is forced to improvise, while 

strictly adhering to a set of conventions authorship is masked. So it’s not 

simply that we know the names of the ‘Instruments’ who made these ‘Gifts’; 

it is that there was no given or shared drawing convention they could either 

work within or hid behind. This resulted in the ‘Instruments’ unintentionally 

showing their hand and revealing something of their personality 

and identity beyond their name. Drawing is good at that. 

When Paul Cezanne said ‘The man must remain obscure. The pleasure 

must be found in the work’, he was I suspect, trying to explain a belief many 

artists have, which is that their identity as artists is less involved with their 

physical appearance than the appearance of their work. 

225

226 drawn identitieS: PePSi, ShakerS and tattooS 

But what Cezanne hadn’t foreseen was the degree to which a modern 

audience would have just as much interest in the identity of artists as the 

appearance of their art , a situation Warhol saw coming and elegantly 

summed up, ‘Don’t pay any attention to what they write about you. Just 

measure it in inches’. 

When the Mexican artist Frida Kahlo painted Self-Portrait as a Tehuana 

(Diego on My Mind), she went beyond just making a likeness and gave 

the audience an opportunity to reflect on the possibility that her identity 

was more than the product of her genetic make up, nurture and chosen 

career path, it was also her choice of primary partner. Married to the older 

and at the time infinitely more successful Diego Rivera, Kahlo clearly 

understood the degree to which her own identity and status as an artist was 

for better or worse linked to and conditioned by her artist husband’s. 

Her SelfPortrait as a Tehuana brings together two faces and two identities. 

The first and primary image is a likeness of herself dressed in regional 

Mexican costume, the second, an either ghostly or tattooed image of 

her husbands face, on her forehead. The sub title of the painting ‘Diego on 

my mind’ suggests Kahlo intended his ‘presence’ to be understood as 

a memory and not as it may first appear a tattoo. Her very simple solution 

to the very complex problem of going beyond appearances and the 

visible to establish absence or invisibility as a part of identity, is to my 

mind impressive. 

Tā moko (Maori tattoos) are carved like furrows into the flesh with uhi 

(bone chisels) they are mid way between drawings and carvings. In pre- 

European Maori culture all high-ranking persons received moko, as a part of 

their rights of passage and as a permanent indicator of social status and 

rank. Men generally received moko on their faces, buttocks and thighs, 

women on their lips and chins. Within Maori culture moko are the wearers 

ID and passport, beyond the confines of Maori culture they were most 

probably ‘read’ as incomprehensible disfigurations or a some kind of ‘war 

paint’. The degree to which the complexity of the line drawings over rode or 

masked readings of facial expression and physiognomy will I suspect always 

remain something of a puzzle , but what they certainly serve to illustrate is 

the degree to which identity can be constructed and exist in layers. First the 

face, then the drawn on narrative, the ‘back story’. 

In Maori culture male facial tattoos are made according to a strict 

sense of order. Although at first sight they appear symmetrical one side of 

the face is subtly different from the other, each side telling a different 

story. The left describes the wearers patriarchal ancestry, the right spells out 

the matriarchal half. Together they tell a story of descent. If on the fathers


227 

side there was no significant bloodline of either power, status or achievement 

the left side of the face would be left as a blank. 

Prior to European first contact there was no history of drawing let alone 

pen and paper, the Maori wove and carved and as near as they got to producing 

anything that could be called drawing were the Tā moko. 

Probably the earliest surviving examples of pen and ink drawings made 

on paper by the Maori, are the drawings they made of their own faces, not of 

their physical features but the linear patterns chiselled into the surface of 

their face, the moko. Within the story of drawing these made from memory 

images, executed at the bottom of land deeds as proof of an individuals 

identity, are not simply signatures, they are also powerful reminders of the 

bond that exists between writing and drawing. 

Tā moko however, the actual tattoos, are more complex than signatures. 

As drawings they are important because they have a living background, 

a background that’s far from neutral. Working in partnership with the 

wearer’s physical appearance they produce a representation of identity that 

ties inheritance to appearance and past to present. 

What connects each of the five examples I have chosen to illustrate this 

exploration of drawn identity is that apart from Kahlo they are not tied to 

high art and are instead drawn from everyday life. 

Both the act of drawing and the business of conducting research into 

drawing can take an inquisitive person on an extraordinary journey. For me 

the journey included being taken by a Maori to a history museum in 

Auckland, writing about Shaker Drawings, whilst touching a drawing made 

in New Lebanon ,New York, in the 1850s and finally, holding a pencil over 

a blank sheet of paper in my studio at Chelsea College of Art, trying to make 

sense of my identity as an artist and Research Professor ,whilst remembering 

conversations, things seen and things read. 

Professor Stephen Farthing is the University of the Arts London Rootstein Hopkins 

Chair of Drawing and Director of the Centre for Drawing research centre.

228 

art and knowledGe 

workShoPS in the aGe 

oF networkS 

david Garcia 

The success of minimalism was sensed by Greenberg as a threat to high standards 

in art … from the mid sixties on he had to live with the fact that that there is 

an art around that calls itself minimal, that sometimes calls itself sculpture but 

never painting, and that relies on the perceptual experience of the ‘real’ or the 

‘literal’, an experience, that is unmediated by the conventions of a specific medium 

and hence not submitted to the strict constraints of modernist history. 

—Kant after Duchamp, Thierry Duve, An October book, published by 

MIT, 1996 

The statement above, written more than a decade ago, is still a fair summary 

of the backdrop against which not only fine art but also contemporary 

design still operates. A realm in which loyalty to ‘the conventions of a specific 

medium’, has given way to a concept of the artist and designer at large, 

someone capable of ranging across all possible media. 

At Chelsea College of Art and Design this post-formalist approach has 

been emphasised across both the fine art and the design disciplines as our 

workshops have been centralised and interconnected, increasing opportunities 

for generating hybrid combinations of media. 

making as thinking 

In fine art, at Chelsea, the traditional pathways such as painting, sculpture 

have given way to courses that are simply called ‘Fine Art’. In place of the 

differentiated media based pathways, the BA fine art course is structured 

through ‘seminar and studio groups’ made up of students who are identified 

and clustered according to affinities (or contrasts) based on issues rather 

than loyalty to any particular material practice. 

The issues emerge and are identified through a process of dialogue 

around the actual studio practice of individual students. Supporting this 

process a special kind of teaching has developed intensifying the 

relationship between theory and practice. The themes and subjects of these 

potential affinities (or generative oppositions) emerge through critical 

dialogue and debate. It was thus inevitable that theory (with specialist 

theory lecturers) would become a key tool for teasing out and framing the 

variety of possible interpretations and meanings from the embodied 

materiality of studio practice. This could be misinterpreted as quite a loose 

approach to a curriculum, on the contrary it is rigorous, combining 

criticality with an intensely deliberative culture in which the artefacts that 

emerge are experienced simultaneously as objects and as arguments. The 

foundational position of all courses at Chelsea is that making is thinking.

art and knowledGe workShoPS in the aGe oF networkS 

The hand is the window to the mind. 

—Immanuel Kant 

old and new media 

229 

Though the traditional loyalties to particular forms of material practice may 

have been shaken and questioned the act of making remains central. In fact 

one could argue that problematising its position, has intensified its 

importance. 

However this is not a straightforward binary dialogue between practice 

and theory; we also have to consider the unpredictable and increasingly 

complex domain of technology. In the context of the college, the 

technological occupies two distinct locations; college technical workshops 

and privately owned mobile devices. 

It is hard to overestimate the importance of the relatively new world of 

mobile media devices, the lap-tops, mobile phones with video cameras, mp3 

players etc. Collectively they are what I would call the new intimate media 

and they are playing a central role in giving shape to what Manuel Castells 

dubbed in 1996 the networked society. 

I will come to the impact of network cultures and intimate media later. 

But for the moment I will focus on the domain of technical workshops, the 

places where students go when their material ambitions can no longer be 

satisfied in a straightforward studio context. The expansion and centrality of 

the workshops at Chelsea has given rise to an interesting triangulation 

between theory, studio practice and the workshops, particularly with regard 

to the distinct relationships that students have with the technical experts in 

the workshops. 

In our workshops new technologies and skills in all forms of electronic 

media and creative computing are juxtaposed with the more traditional and 

tangible media such as metal work, wood and ceramics. This collision of 

modalities has increased the potentiality for hybridity and infinite varieties 

of experimentation. It is a regime that (when it is able to perform optimally) 

is continuously testing the limits of what was previously thought to be 

materially possible. As a result our workshops and their technologies are 

being challenged as never before. But the centralisation also holds dangers, 

they must be seen as part of a wider educational ecology, an interconnected 

process of open-ended critical exploration. It was described by the Course 

Director of MA Fine Art, Brian Chalkley as the impulse ‘to create an 

environment that allows students to make, think, discuss and develop art 

that is yet to be defined as art’.

230 


digital networks social and otherwise 

Less tangible than the changing position of workshops and technical 

expertise, but no less momentous is the impact of the internet when 

connected to the every day technologies of an ever expanding range of 

mobile devices. 

In a recent exchange with Chelsea’s theory tutor for the Graphic Design 

and Communication course, Frank Cartledge, described how a great deal of 

the content of the theory for this course deals directly with the implications 

of technological change. In a rough estimate he estimated that around 

‘50% of the final dissertation subjects are dealing directly with the impact 

changes in technology have on the organisation of culture both as a 

discernible arena of political and economic practices as well as the popularity 

of social networking sites, on how notions of identity and community 

are being re-written through the changing media surfaces through which 

the students themselves communicate.’ 1 

We see it every day as students from the design courses sit with wireless 

lap-tops, huddled together arguing and comparing their assignments (or 

briefs) in the college refractory, creating de-facto internet cafes. Meanwhile 

in the fine art studios, amidst the pigment, the rags, the half drunk mugs of 

coffee and piles of crumpled paper lie the lap tops, cell phones with 

embedded cameras, once glistening now shabby and scuffed with constant 

use. There is nothing alienated or technocratic about these 21st century 

dream machines. 

These tools are as intimate and expressive as 19th century diaries and 

sketchbooks. Though deeply personal they are not private. Today’s new 

media platforms are wide open to dialogue, to commentary and networking. 

This is a generation of students who are ‘growing up in public’. They 

embody the aspirations and the anxieties of the age of transparency and 

ephemeral celebrity. 

After more than a decade of promising something big, the Internet has, 

at last, finally delivered. The once separate modalities of human communication, 

text, speech, image and moving image have been collapsed into 

a multi-modal media space. This has been a claim made for the net almost 

since its inception. As far back as 1996 the usually sober social and political 

scientist Manuel Castells, described what he believed to be happening at 

the time in momentous terms. ‘We are witnessing’, he declared ‘the formation 

of a hypertext and a meta-language which for the first time in history, 

integrate into the same system the written, oral and audio-visual modalities 

of human communication The human spirit reunites its dimensions in a


new interaction between the two sides of the brain, machines and social 

contexts. For all the science fiction ideology and commercial hype 

surrounding the so-called information superhighway we can hardly 

underestimate its significance.’ 2 

Its impact can be seen in matters as far ranging as, changing concepts of 

human freedom and identity, notions of the public and the public domain, 

the nature collaboration, friendship and intimacy. Nothing remains 

untouched. 

difference and networks 

231 

The revolution in consumer electronics made cheap media tools available 

for mass market DIY media production. This, combined with popular 

internet platforms such as YouTube and MySpace, have expanded and 

democratised the possibilities for expressive self-articulation from the few 

to the many. Artists and designers are still struggling to respond to the 

challenges created by these new political economies, what have been called 

the ‘economies of contribution’. 

But although there is greater emphasis on networks of collaboration the 

failure of 20th century utopias based on mass collectivisation have 

reinforced the claims of the singular selfcreated individual. This concept of 

expressive autonomy is not isolated or sovereign as it must be negotiated 

with others making the same claim. The social scientist Ulrich Beck put it 

well when he wrote ‘the choosing shaping deciding human being who 

aspires to be the author of his or her own life, the creator of an individual 

identity has become the central character of our time’. 3 

But alongside these narratives of identity and subjectivity, the networks 

have also given new body and shape to alternative conceptions of autonomy. 

As opposed to the freedom to be yourself, the networks suggest a freedom 

from the self, certainly traditional concepts of the self-conceived as a unitary 

whole. 

Late 20th century conceptions of subjectivity come under increasing 

pressure from popular movements that effectively de-centre the sovereignty 

of the individual subject, in favor of a constellation or a network. The 

character of nodes in a network are not so much determined by intrinsic, 

absolute qualities, as they are by relational qualities, their position in the 

network. 

The new freedoms of networks are based on shifting the centre of gravity 

away from the ‘within’ to the ‘in-between’. Rather than asking what 

something is made out of, we have to ask what does it interface to’. 4

232 art and knowledGe workShoPS in the aGe oF networkS 

designing for a networked culture 

Even the boundaries between human and non-human are questioned as 

chips with Radio-Frequency Identification (RFID) are increasingly tagged 

onto everyday objects, giving rise to an Internet of things. Moreover the 

most advanced products of contemporary design rarely exist in isolation 

but rather are part of a system, or network, of both tangible and intangible 

elements that together that taken together have transformed, and 

multiplied, the ways in which we work and the objects we make. 

The classic example here is the iPod, which is connected to the iTunes 

software and then to the iStore where you can download the products. 5 

The iPhone with its expanding plethora of new applications has taken this 

principal to the next level. But these products also mark the fault lines 

where a graduate school might work more critically and ask; what is it that 

industry does not want? And give it to them anyway. A graduate school in 

a radical academy would be involved in processes of critical making, and be 

a platform for developing works that of artistic, social and technological 

critique. 

‘The Commercial networks like Apple, through conflations of social, 

technical, and legal regimes, can sometimes result in decreasing, rather than 

increasing access to knowledge and cultural capital. It is easy for Steve Jobs, 

to ask for the removal of restrictions on content distribution when you 

control the network itself.’ 6 

New approaches to the practice of art and design not only reference open 

source models of development such as Linux and Wikipedia but may also 

contribute to the current expansion of the traditional British ‘Public Service 

broadcast’ currently being pioneered by museums such as Tate, with their 

growing emphasis on Tate Media with its accessible content. 

q-art london 

An example of the unpredictable ways in which the networks might impact 

on pedagogy can be found in Q-Art London (www.qartlondon.com) an 

entirely student organised peer review network. The project is the initiative 

of Sarah Rowles, a second year fine art student at Goldsmith’s, who established 

it in November 2008 and since then with a small but growing team 

she has run monthly meetings at Goldsmiths, Central Saint Martins, APT 

Gallery, University of the Arts London Hub, Slade School of Art and Chelsea. 

Q-Art currently includes upwards of about 1600 students from the main 

London art colleges, working together in regular seminars and gallery visits,


to learn from and teach one another. It is already building a formidable 

network. This entirely student run and student initiated project cut has 

been able to cut across all institutional boundaries and hierarchies. 

It challenges large-scale institutions like the University of the Arts 

London to find ways to learn from and nurture this new self organised, grass 

root, networked pedagogy. Similar networks might have been possible in 

the past but the internet has made it possible to scale these experiments up 

till they are operating on the scale of an art school. This is the kind of thing 

we mean when we ask what it might mean to create, an institute ‘imminent 

to the logic of networks’. 

and so … 

At an art technology conference I attended, a Professor of a liberal arts 

department pleaded for the speakers at a conference ‘to look behind the 

technology’… . ‘To look for the person behind the machine.’ She received 

a round of applause from an audience relieved to have a reassuringly 

humanist perspective. How strange I thought to make this separation 

between us and our tools, our technologies and our media. She spoke 

as though they were simply an add-on. My argument with her and my 

technological advocacy resides in repudiating this position as a false 

dichotomy. We are and always have been toolmakers. Its part of who or 

what we are. We make our tools, then they make us. 

Professor David Garcia is Dean of Chelsea College of Art and Design. 

233 

1 castells, m. (1996) the rise of the network Society- the information age: economy, 

Society, and culture, vol.1, oxford: blackwell. 

2 e-mail exchange with Frank cartledge, theory tutor for Graphic design and 

communications at chelsea college of art and design. 

3 beck, u. (2002) ‘a life of one’s own in a runaway world’, in individualisation. Sage. 

4 Stallder, (2002) ‘Space of Flows: characteristics and Strategies’ presented at the doors of 

Perception conference amsterdam, 14–16 november 2002. 

5 Geke van dijk essay (2007), in (un)common Ground, creative encounters across Sectors 

and disciplines, brickwood, c., Ferren, d., Garcia, d., and Putnam, t. (eds), amsterdam: 

bis Publishers. 

6 ratto, m. and van kannenburg, r., essay (2007), in (un)common Ground, creative 

encounters across Sectors and disciplines, brickwood, c., Ferren, d., Garcia, d., and 

Putnam, t. (eds), amsterdam: bis Publishers.

234 

lineS oF enQuiry 

chriS wainwriGht 

This text is based on a reflection on the symposium Who Is Responsible? 

which I organised and chaired for the tenth ELIA conference in Goteborg 

2008. The symposium proposed a number of questions, discourses, and 

challenges for art education intended to stimulate future agenda setting 

with reference to cross disciplinary thematic ‘Lines of Enquiry’. It also 

contains an edited interview with David Buckland, Director of Cape Farewell 

and one of the main contributors to the symposium. Cape Farewell is 

currently an ‘artist in residence’ at the Southbank Centre, London and one of 

the key cultural partners of the C-C-W Graduate School. 

The notion of emphasising ‘Lines of Enquiry’ may not constitute a new 

or radical approach to curriculum structuring or a means of engagement 

with social, political and broader contexts for practice, as there are many 

examples relating to feminist and post feminist agendas, race, political and 

social activism to name but a few. There is arguably, at this moment in time, 

a real sense of urgency for example, in relation to addressing, or at least 

working with a sense of awareness of the dramatic effects of climate change. 

If the assertion that climate change is caused by the way we live our lives, 

then surely there is a legitimate case to engage artists in the process 

of addressing the issue on the basis that one of the primary historical and 

contemporary preoccupations of artists is to show us how they see the 

world; right now that world is changing at an alarming rate! 

The symposium provided a context for focusing on the debates 

surrounding the potential future directions, agendas, and roles for artists 

and the modern art school. It also raised the issue of what constitutes 

a legitimate curriculum and reference points for artists who evidence a 

commitment to addressing thematic issues such as climate change, through 

involving other disciplines, agencies and partnerships and to what effect 

this has on ‘individual practice’. 

The diverse constituency of participants in the symposium debated the 

relationship between subject disciplines and a wider set of parameters of 

social and cultural conditions that affect, and in turn are affected by, cultural 

practice. It created an opportunity to present a case for arts education to 

establish a thematic orientated structure predicated on ‘Lines of Enquiry’ 

as a relevant axis for creative education and questioned the more established 

subject specific practices, that currently characterise the majority of our 

institutional approaches to curriculum construction and the learning 

experience in art schools. 

It is arguable that informed and critical cultural practice draws its 

momentum from a reflection on, and an awareness of, current pertinent 

social, cultural and political aspects of life more than from the arts


235 

disciplines and practices. Contemporary artists are primarily occupied with 

addressing and commentating on how they see and reflect the often 

complex, contradictory, stimulating and problematic world that they live in. 

This is not to suggest that there is a lesser value in engaging with the 

traditions, history and the heritage of the arts, much of which is highly 

relevant to contemporary practice and provides both evidence and 

inspiration in relation to artists who have focused on social and political 

issues in the past. A key aspect of these debates is essentially one of 

emphasis and concerns a clarification of the context for the artist and for 

how the artistic practice is located and intended to function. 

A legitimate reservation with regard to the creation or identification 

of a community of critical practice in an art school, through the collective 

engagement with thematic ‘Lines of Enquiry’, might be the danger of 

creating a prescriptive instrumentalism in artistic practice and a compromise 

to the learning experience that threatens individual expression. 

Clearly there is room here to engage in a process of discourse that challenges 

and potentially destabilises both sides of this argument and seeks to actively 

problematise the simplistic notion of thematic ‘Lines of Enquiry’ at the 

same time as robustly challenging the assertion of individually centred 

practice. I believe the forum for such debates should be located within the 

modern art school and be driven by a wide range of informed, confident 

practitioners and researchers. 

Arguably there are key questions arising from this process of dialogue 

and interchange, ‘Who Is Responsible?’ What is the role of the artist, the art 

institution and what are the subsequent challenges for artists and designers 

to reflect and engage with broader issues of our time such as, climate 

change, social integration, intolerance, migration and the effects of our 

endangered economies. How do artists and our art institutions function 

purposefully in relation to these and other external factors and who are the 

key partners and how do they develop a complex network of relationships 

to make this work? 

Is it not also time to rethink and re-draw the map of the relationships 

both within the art institution and outside it and place a greater emphasis 

on learning and cultural practice as a reflexive process that is both inclusive 

and proactive in addressing the notions of context, quality, the relationship 

between theory and practice, and what we mean by knowledge generation 

and research with reference to the specific characteristics of the arts and 

how this interfaces with other non arts disciplines such as the sciences? 

The specific debates surrounding the importance of research, the 

function of discourse, recognition of process as a form of practice and the

236 


role and purpose of the artefact, are well articulated and continually 

critically interrogated within the academic institution. There is a danger, 

however, for these debates to become hermetic, or to lack a sense of urgency 

in the opening up of dialogue outside the formal institutional education 

sectors and fail to reflect and engage with the world we live in. 

It is therefore vital to create conditions that support sustainable 

approaches to a negotiated and inclusive cross disciplinary cultural production, 

that demonstrates how artists can contribute to the creation of 

a socially engaged community of artists/educators. In turn, this stimulates 

a contribution to the discussions and models for creating an expanded role 

for the art school in the 21st century. 

There are inevitable problems for institutions embracing a model that 

raises questions for artists when initiating projects based on a responsible 

socially engaged practice. These relate in part to questioning the nature of 

collaboration, partnerships and networks, and the need for artistic intervention 

to raise awareness and contribute to, or effect change. There are 

fundamental issues concerning the definition and role of the art school itself 

when challenged by a model that proposes legitimate questions around 

areas such as authorship, creative intervention, and participation in a more 

fluid and contingent relationship where the art school is only one of a 

number of engaged agencies. There is also a need to recognise the participatory 

nature of this approach to cultural production that acknowledges 

and reflects the conditions of those placed in the assumed position of 

its receivers, or audiences. Such conditions could stimulate, challenge and 

question the possible role for the artists of today if models of inclusive 

cross disciplinary cultural practice are adopted, developed and interrogated 

in our art schools, and by a wider public. 

The art schools’ relationship with its external communities and the 

development of sustainable partnerships is central to its purpose that 

now goes beyond the traditional function as a detached onlooker, a 

commentator and reflector of the world seen and interpreted through the 

eyes of a privileged creative class. There needs to be a considered and 

strategic approach to positioning the art school in being identified, 

as a generator of progressive and inclusive educational opportunities and 

as a centre for innovative cultural production that creates social as well 

as intellectual capital. 

This of course raises further questions about how the art school is both 

populated and supported. How we develop pedagogic models that embrace 

the need to contribute to and influence society in order to amplify both 

individual and collective voices on important and increasingly pressing


social and political issues affecting our lives. How we can achieve this whilst 

retaining our independence, promoting experimentation and originality is 

arguably one of our greatest challenges for the future. 

interview 

237 

The following text is an extract of conversation between myself and David 

Buckland, artist and Director of Cape Farewell, an artist led organisation that 

creates a cross disciplinary dialogue between artists, scientists, musicians 

and key individuals from the wider creative sector and promotes as its core 

assertion, the importance of foregrounding a cultural response to climate 

change as one of the most significant issues of our time. 

The interview was conducted in April 2009 as one of a number of 

activities and reference points leading up to the launch of the Graduate 

School. 

In September 2008, David Buckland led the seventh Cape Farewell 

expedition to the High Arctic, taking a team of 40 artists and scientists to 

Disko Bay off the west coast of Greenland to see the Jakobshavn Glacier, 

which is losing 20 million tons of ice every day. In addition David Buckland 

and myself the artists included Lori Anderson, Sophie Calle, musicians 

Jarvis Cocker, Ryuichi Sakamoto and KT Tunstall, architect Sunand Prasad, 

poet Lemn Sissay, filmmaker Peter Gilbert, and comedian Marcus Brigstocke 

while previous voyages have included novelist Ian McEwan, artists Antony 

Gormley and Rachael Whiteread among many others. 

dB: Cape Farewell came about from artistic enquiry. I’d come across 

mathematicians who were model building in the late 1990s. They’d 

constructed what is now a very famous climate model the HadCM3, that 

had the structure and integrity for looking into the future climate of the 

planet. They had a really big problem - they knew that climate change was 

a reality, but the language they were using was the language of graphs 

and scientific data. The public wasn’t engaging, so Cape Farewell was set up 

to construct a different language of talking about climate change. The 

idea was to gather the best creative brains we could find, embed them with 

the scientists, go up the Arctic, put them in this extraordinary frontline 

situation with climate change and give them an open invitation to work 

with this as an idea. Sixty or 70 artists have been through the programme, 

and they’ve all come up with amazing ways of thinking about climate 

change. The artists are challenging the way we live, our values and lifestyles. 

There have been seven expeditions so far; five with major artists and

238 


scientists and two with sixteen year-old youths. We made a strategic decision 

last year to work with university students rather than youths, because 

you can embed students with the artists, and it’s not a separation. They can 

feed off each other. 

CW: I’m interested in the strategic decision that Cape Farewell took to work 

with young, emerging artists rather than youths. It suggests to me that 

within that choice there’s also a challenge; that part of the motivation for 

working with students is not just to offer them the opportunity to engage 

with Cape Farewell, but to pose the question, ‘we think this is important 

that you engage with climate change, what do you think?’ From where I’m 

sitting, I see it as a challenge for students as much as an opportunity. I don’t 

know if that’s the intention or not. 

dB: It’s the same challenge for the artists. We work with the best artists we 

can find and ask them to address climate change. With the exception of one 

or two, they’re not environmental artists. There’s been a big debate on 

whether that is a legitimate ask since the inception of Cape Farewell. You’re 

asking if that is a legitimate ask of the student to say, ‘you can be the best 

painter, film-maker, fashion designer, but I want you to address climate 

change’. 

CW: As somebody who’s responsible for running an art school, I’d say it 

is a legitimate question, because it challenges the notion of curriculum and 

of self-expression. It challenges the notion of the art school being the place 

where people can develop their individual and collective creative ideas. 

There are some contentious arguments about the values of creative education 

that have actually moved away from some of the core responsibilities 

that artists have to address – social, cultural and economic issues – as well 

as those issues about individual creativity. 

If you go back to a very basic premise that all artists do is tell you how 

they see the world, then I’ve got no problem with that. My only question 

for that premise is how big is that world? Is that the world you live in 

from day to day going from your flat to your studio, to the supermarket and 

home again, and your experiences about that? Or is your sense of how 

you see the world influenced by issues such as climate change? So it’s about 

the breadth, the reference and not so much about challenging the premise 

of what an artist should be. It’s actually more to do with saying, ‘if you 

are somebody who has a creative ability to see the world in a very particular 

way and tell people about it, and tell them about it confidently and in


Greenhouse Gas, installation by Sunand Prasad with chris wainwright,disko bay, west Greenland, 

cape Farewell expedition to disko bay, September 2008 

(photo by c. wainwright) 

a way that’s engaging through exhibitions, music, performance, then that 

world that you’re seeing ought to have some relevance to other people’. 

dB: There’s also a greater notion of being right at the edge of knowing something, 

that edge where you’re just trying to make sense of something that 

you can only just about touch, and it’s probably an emotion. That is also a 

totally valid enquiry for me. The artist’s job is to grab those things that are 

way out on the edge and somehow be able to articulate them. 

But the thing about the climate change is that the whole structure of 

society in which we live has evolved into something that is not sustainable. 

Six billion people cannot carry on living like this. But the solutions are right 

on the edge of something out there and it needs artists to try and articulate 

that curiosity. 

CW: Remember when you said to me, just before the trip, ‘it’s okay to come 

along and fail’. By saying it, you’re creating the pressure not to fail. You’ve 

upped the ante. 

239

240 

dB: I know. 


CW: There were times on that voyage where people were completely at a loss 

as to how to deal with what they were experiencing, not because of a lack of 

confidence in their ability as artists or musicians, but because of the sheer 

enormity of the question. You can ask the question about climate change 

sitting here in the city, because there’s lots of other things that you’re asking 

questions about in the same time, the same day. When you’re in the Arctic, 

the only question is climate change. The more you thought about it the 

more you became completely incapable of understanding why we’ve got to 

the position that we’re in. And I saw that as a sense of failure. Not personal 

failure, but just failure to be able to assimilate the enormity of the problem. 

dB: This planet has certain major natural forces that are in balance. They are 

forces beyond imagination; the whole of the northern ice cap in the North 

Pole or the whole mass of ice on Greenland. They’re so big that you can 

witness them, but if someone tells you they’re not going to exist in five 

Greenhouse Gas, installation by Sunand Prasad and chris wainwright and students from chelsea college 

of art design, the rootstein hopkins Parade Ground, millbank, april 2009 (photo by c. wainwright)


years’ time, you can’t even imagine the consequences. It is extraordinary 

that human activity can change one of those forces. Six billion of us doing 

the same thing is causing it. 

CW: And you feel that pressure when you’re there with a small group of 

people right at the cutting edge of where that’s happening. You’re carrying 

the burden of six billion people’s activities on your back. 

dB: Ian McEwan said when he was up there he realised one day that, except 

for probably a hundred people, everybody was south of him. It touches on 

artists dealing with being right on the edge of something and trying to drag 

it back. Every artist that’s come back has told a personal story, that’s how 

they dealt with it. They’ve managed to make a human scale out of this 

enormous question and that is the most exciting thing that’s come out of the 

whole process of the Cape Farewell project. Most of the work that the artists 

have done has not been in the Arctic, it’s what they’ve done since they’ve 

come back. 

241 

CW: One of the most interesting institutional and educationally challenging 

things to deal with is how you marry up the concerns of art and science in 

such a way that is both analysing a situation, but putting something out in a 

way that people will engage with. 

dB: When we first started, neither the scientific community nor the artistic 

community knew the outcomes. They trusted that through a process of 

doing, we would actually achieve what we couldn’t think. The scientists at 

first thought the artists would illustrate their problem and then they soon 

realised that that’s not what artists do. They somehow took hold of this 

amazing piece of scientific thinking and then transposed it into something 

completely different and came up with another way of visioning what the 

scientists were doing, but connecting it to human activity, the human story. 

CW: The musician Ryuichi Sakamoto is an emblematic example of how an 

art and science collaboration can work in a way that is completely 

unexpected. 

dB: The geologists were towing a blaster behind the boat that would put 

sound down through two or three kilometres of sea to the rock at the sea 

bed. The idea was that as the actual land mass of Greenland is underwater, as 

the ice melts in the middle of Greenland, the land will rise and cause fusions

242 


in the seabed. So the geologists were trying to see if there were any major 

changes in the rock structure. As they were doing this they came up with 

these incredibly beautiful drawings of data that showed the seabed. Ryuichi 

asked them about the information and what form it was in. They said, ‘it’s 

digital information. We just take it into the computer and we digitalise it’. 

He said, ‘I can turn it into music. I’ll make a symphony that’s half a million 

years old’. And that’s what he’s done – he’s written a piece of music that is 

influenced by that whole process of taking the data and transforming it into 

a different way of thinking about time itself. Fabulous. 

CW: What that does is take the scientist’s data and puts it into a public 

domain in a way that science could never achieve through its own 

mechanism of scientific journals, scientific conference, or government 

reports. Ryuichi would reach a few thousand people a night with that 

information. 

dB: Easily, and the story reaches thousands more, it’s just brilliant. That’s 

endlessly happened. 

CW: What always amazed me was not just the potential for collaboration, 

but that in very short spaces of time people got it. People collaborated more 

quickly than they might have done if you’d had this slow evolving 

relationship over a number of years. 

dB: It’s an interesting experiment to run in the University, because you have 

painters, sculptors, etc, and you get them all addressing this one collective 

issue for a year. You’re throwing people together and setting up a paradigm 

of a potential collaboration. 

CW: For me that reinforced a core belief that if you create a strong thematic, 

it forms a glue between different disciplines. I was completely knocked 

out by how musicians, artists, poets, geologists and beatboxers came 

together in a way that was only possible because of the collective focus on 

climate change. For me, it strengthened the belief that within the creative 

educational context, we can set up big agendas for creative people to 

address, whether they’re designers, filmmakers or ceramicists. You can bring 

these people together meaningfully, get everyone focusing on a much more 

important issue than what they do as an individual, and exciting things will 

come from that.


dB: What you’ve just said there is quite a challenge to a lot of 

people. It’s a bit like me saying, ‘you can be allowed to fail’. 

dB: No pressure! 

243 

CW: I’m always conscious that whatever I do, the students will 

benefit from it. The opportunity came up for us to get involved 

with Cape Farewell’s evening at the Late at Tate in February. 

We used the same students to respond to and reconstruct a piece 

of work that Sunand Prasad and I did on the voyage, this series 

of four balloons in a cube that represented one cubic ton of carbon 

dioxide, which is a tenth of what each of us produces each year. 

We made this very temporary piece of sculpture on the beach, and 

we thought we’d use the programme to reconstruct it. What a 

great experience for the students – they got Sunand, who’s the President 

of the Royal Institute of British Architects, and me as tutors, 

they got materials, they got exposure and they got 4000 people 

coming to the Parade Ground to see the work. We asked them to 

respond to the idea of a ton of carbon. Industrial design and fine art 

students worked on it for a week and produced an interpretation 

of our work. 

Now they want to do something more with it and redevelop the 

project. So we seeded that with a group of people, but one of the 

really important things is putting a bit of pressure on them to do 

something, to produce something for an event. ‘You’ve got a week 

to do it. It doesn’t matter if you fail.’ 

CW: It creates an anxiety in them that indicates they’ve got 

something really important to do. It’s fantastic seeing people rise 

to that challenge. We can create real opportunities that aren’t 

just about making work about climate change, they’re about the 

students making things happen. We can say to them ‘this is a 

project about now, which is about a problem about now and the 

time to deal with it is now. So don’t put it off. Don’t over-theorise 

the process’. And, to use one of your terms, David, it’s about 

making. It’s bringing about awareness through actually doing 

something. That’s not to say there isn’t a sound theoretical or 

intellectual basis for it, but it’s about direct action to a fairly 

direct problem.

244 


dB: But you’re always aware of not making that a wasteful process. You 

make it as efficient as possible. So there’s a fine tuning to it, but it’s not blind 

just making. That’s the artistic process … 

upcoming projects 

Cape Farewell is planning three nights of concerts in January 2010 with 

musicians from the expeditions and others, including work from the University 

of the Arts London students at Chelsea College of Art and Design 

and London College of Fashion, two colleges that are working to increase 

awareness of climate change and sustainability. 

Cape Farewell in collaboration with the University of the Arts London 

is also creating a touring exhibition based on work by the 2008 Cape 

Farewell artists, called Unfold. The show curated by David Buckland and 

Chris Wainwright, will travel to Seoul, Vienna, Chicago and other venues 

worldwide and conclude with a UK tour and finishes in London in 2011. 

Professor Chris Wainwright is Head of Colleges Camberwell, Chelsea and 

Wimbledon. David Buckland is an artist and Director of Cape Farewell.

eSearch 

environment

248 reSearch at camberwell, chelSea and wimbledon 

256 reSearch centreS 

257 centre For drawinG 

258 liGatuS 

260 Sciria 

262 train 

264 Graduate School PartnerShiPS 

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248 

reSearch at camberwell, 

chelSea and wimbledon 

ProFeSSor oriana baddeley, director oF reSearch 

Through the combined work of the many talented and dedicated researchers 

and support teams within C-C-W we are able to offer an exciting and 

rigorous experience for our graduate students and staff alike. One of the 

most important functions of the Graduate School is to facilitate greater 

communication, focus and debate of key issues across the communities 

within the three colleges. Our research activities are well established, 

diverse, specialist and are grounded in the broad portfolio of art and design 

subjects represented by our taught course programmes. They frequently 

offer new and challenging ways of thinking about how specific disciplines 

can share common concerns and questions. Issues surrounding the practice, 

theoretical and historical contexts of Fine Art, Design, Conservation, 

Theatre and Performance are developed and interrogated through a focused 

research approach of contemporary relevance that leads to tangible 

outcomes and impact. 

Our team of research administration staff supports the development of 

external research partnerships and projects and provides assistance with the 

development of conferences, symposia, publications and public events. 

Many of our individual researchers and groups are recipients of external 

funding for their research. Our research centres units and networks, hosted 

by C-C-W provide a rich programme of events to inform and enhance the 

broader course and college based activities. This echoes our commitment to 

ensuring that our individual and group research activity has a direct impact 

within the colleges as well as externally. 

We are particularly interested in research proposals that address either 

individually, collectively or in tandem, the current Graduate School themes 

of Climate Change Identity and Technologies. This is not to say that we are 

expecting all of our research to specifically address these issues directly as 

we recognise that many of our individual researchers and centres have very 

specific and specialist areas of enquiry. The identification of a number of key 

thematic lines of enquiry is primarily intended to identify a context over 

and above individual research interests where there may be some common 

ground and a space for cross disciplinary dialogue. The themes also reflect 

a growing collective awareness amongst our research communities for 

identifying some of the more pressing and urgent social, political, economic 

and cultural agendas of our time that can be addressed through innovative 

and creative responses.

eSearch at camberwell, chelSea and wimbledon 

The current research focus and project developments in C-C-W relate to the 

identity of our centres, units and networks as well as that of individual 

researchers. These include: 

> The interface of new technologies and creative practice. 

> The creative, historical and theoretical exploration of nation and identity 

in transnational arts. 

> The investigation and redefinition of the limits of performance, costume 

design and scenographic practice. 

> The generative languages of drawing and the material procedures of 

drawing as a tool for the realisation of ideas. 

> Textiles research and designer-centred solutions that have a reduced 

impact on the environment. 

> The study of artist’s voice, the designer’s voice and the practitioner’s voice, 

both in the specific sense of oral testimony, and in the broader context of 

cultural, ethical and political representation. 

> The history of bookbinding and the conservation of Byzantine books 

and manuscripts. 

> Critical fine art practice and the exploring of new models for creative 

practice. 

> Questions and issues of identity and subjectivity as they are mediated 

between artist/writer, artwork and viewer. 

> Narrative structures and meanings in the visual arts. 

In addition to hosting the research centres listed here in the Directory, 

C-C-W supports and hosts a number of research units, groups and networks 

that form a vital part of the research environment. These include: 

critical practice 

Critical Practice is a cluster of artists, researchers, academics and others. 

Through our aims we intend to support critical practice within art, the field 

of culture and organisation. 

Critical Practice recognise dramatic transformations in creative practice. 

Transformations instigated by, and a reflection of wider social, political, 

249


technological and financial changes. One of the most obvious affects is that 

as artists, curators, designers or theorists, our practices, or their interpretation, 

or how they are theorised, historicised or organised, are no longer 

separate concerns, or indeed the prerogative of different disciplines. 

Currently, we are concerned by the threat of the instrumentalisation of the 

artistic field through the internalisation of corporate values, methods and 

models. This can be seen everywhere, in funding agencies, at art schools and 

academies, in museums and galleries, and even in the studios of artists! 

Therefore, we seek to avoid the passive reproduction of art, and uncritical 

cultural production. Our research, projects, exhibitions, publications 

and funding, our very constitution and administration become legitimate 

subjects of critical enquiry. All art is organised, so we are trying to be 

sensitive to issues of organisation. Governance emerges whenever there 

is a deliberate organisation of interactions between people. We are striving 

to be an ‘open’ organisation, and to make all decisions, processes and 

production, accessible and public. We will post agendas, minutes, budget 

and decision-making processes online for public scrutiny; as advised by 

openorganization.org. 

We are always in the process of defining our aims and objectives. 

(www.criticalpracticechelsea.org) 

agendas, agendas, agendas 

The Agendas, Agendas, Agendas initiative at Wimbledon College of Art, is 

engaged with three linked strands of research: 

> The study of artist’s voice, the designer’s voice and the practitioner’s voice, 

both in the specific sense of oral testimony, and in the broader context of 

cultural, ethical and political representation. 

> Critical Practice, which engages with the aesthetic constitution of the 

social bond. 

> The initiation of debate with constituencies, audiences and fields of 

research beyond the art and design area. 

The Agendas Programme, which is led by Dr Malcolm Quinn, Reader in 

Critical Practice and Bill Furlong, visiting Professor of Fine Art, has a 

tripartite structure, embracing internal Agendas symposia in connection


with the gallery at Wimbledon, events in partnership with Tate Gallery and 

other major venues in the UK, and regular ‘Venice Agendas’ symposia at the 

Venice Biennale since 1999. (http://venice.wimbledon.ac.uk) 

subjectivity & feminisms 

The Subjectivity & Feminisms research group consists of artists and writers 

whose practices explore questions and issues of identity as they are 

mediated between artist/writer, artwork and viewer. 

Research Questions 

Subjectivity is related to identity and the personal, but it is not reducible 

to these formations. While identity is formed out of a whole range of 

intersecting determinations (social, political, linguistic, psychological, 

ideological), the emphasis on subjectivity implies that these determinations 

are fluid as well as being culturally specific. The emphasis on subjectivity 

implies that signifying practices such as art open the individual up to 

change. 

251 

In recent practices and debates, subjectivity has been characterised as both 

fluid and processual. This group questions whether and how subjectivity 

is a transitive process or whether and how it is attached to identity (race, 

gender, sexuality, disability etc.). The individual members of the Subjectivity 

& Feminisms group question in their practices how these concepts are 

mediated, how they push the boundaries of language and how they might 

challenge orthodox ways of understanding. This research question 

acknowledges the legacy of feminist thinking in re-evaluating aesthetics in 

relation to the encounter with what lies outside the frame of representation. 

fine art and digital environments (fade) 

This joint research project between Camberwell College of Arts and 

Chelsea College of Art and Design has developed out of a previous project, 

The Integration of Computers within Fine Art Practice. FADE seeks to 

investigate through practice based research, the impact of digital 

technologies on fine art practice including its relationship to established


studio practice. In particular, issues around questions of Surface, Layering 

and Memory will be central to the project’s concerns. (www.faderesearch.com, 

www.faderesearch.com/digitalsurface) 

textiles environment design (ted) 

The Textile Environment Design (TED) project at Chelsea College of Art and 

Design was established in 1996 and is a unique collective of practicing 

designers / educators. The main aim of the Project is to look at the role that 

the designer can play in creating textiles that have a reduced impact on the 

environment and to provide a toolbox of designer-centred solutions. 

Designers have a crucial role to play in improving the environmental profile 

of textile production, and research shows that if designers make informed 

and appropriate design decisions at the outset, then the environmental 

performance of any product can be improved by up to 80%. 

In 2003 the TED Resource was established to create a central focal point for 

all TED research activity, past and present. This is a resource that draws 

together a collection of fabric and clothing samples, press cuttings, academic 

papers, research projects and case studies, creating a valuable and original 

facility for textile designers at every stage of their career. This resource is 

much needed to take theory into practice. It is used by staff, Associate 

Lecturers, students, alumni, and designers from our professional contacts. 

It is a living collection that benefits researchers and designers, and is a 

resource that they can also contribute to. 

TED has also developed a series of possible strategic solutions to assist 

designers in their decisions. Some are materials and process based including; 

low toxicity/organics, new technologies, design for recycling and 

biomimicry and some consider more conceptual approaches such as; 

lifecycle thinking, fair-trade and ethical production, short life/long life 

textiles, design for low laundering and systems and services design. 

(www.tedresearch.net)


the engine room 

The Engine Room is a centre for the development and promotion of projects 

to bring Enterprise, Research and Community together around arts-based 

activities to build sustainable systems of knowledge transfer about the 

impact of the arts within society. 

The Engine Room undertakes research, impact measurement, evaluation, 

community projects, consultancies, education services, professional 

development, events, performances and exhibitions. 

253 

The emphasis in the Engine Room is on facilita tion, mobilisation, support, 

encouragement and recognition of successful and sustainable prac tices 

in the arts and cultural sector. The Engine Room is committed to sustainable 

growth in the creative and cultural sectors by gathering human and other 

resources to disseminate and exemplify models of best practice in ethical 

impact research using arts-based measures in combination with qualitative 

and quantitative methods. 

The Engine Room projects involve partnerships, research, knowledge 

transfer, community, enterprise, businesses, capacity building, professional 

development, dissemination, outreach and advocacy. 

(www.engineroomcogs.org) 

voices in visual arts [viva] 

Voices in the Visual Arts [VIVA] is an oral history project set up by 

Camberwell College of Arts, to record the life histories of alumni working in 

the creative industries as a resource for teaching, learning, and research. 

These audio documents provide an opportunity to hear individuals reflect 

on the meaning and effects of a life and/or education in creative practice. 

The interviews focus on three core experiential histories: family background, 

education, and professional practice, recorded over several sessions 

with completed recordings averaging in length from 6–10 hours in total.


The complete recordings are available to researchers by appointment 

with VIVA’s Senior Research Fellow, Linda Sandino 

(l.sandino@camberwell.arts.ac.uk) 

the book as artefact 

The St Catherine’s Library Conservation Project is a joint endeavour 

with the St Catherine Foundation carrying out research into the conservation 

of early manuscripts and binding structures. Research is pursued 

in the context of a consultancy role in the development of a long-term 

conservation strategy for the world-famous Sinai Monastery’s unique 

collection of manuscripts and books. 

Supervisors: Professor Nicholas Pickwoad, Dr Athanasios Velios 

The University of the Arts London website (www.research.arts.ac.uk) also 

provides information and contact with fellow researchers within the 

University and has more information on its university wide research 

centres, units and networks as well as those which are hosted by 

Camberwell, Chelsea and Wimbledon. In many cases research activities 

form part of a wider network across the University’s research centres 

and units and many involve external partnerships. Researchers within the 

Graduate School participate particularly in the International Centre 

for Fine Art Research (ICFAR); Centre for Materials and the Arts (MATAR); 

the research unit for Information Environments (IE); and the Textiles 

Futures Research Group (TFRG).

256 

reSearch centreS 

kreider and o’leary, the drawing Field workshop documentation, april 2009

centre For drawinG 

director and rootStein hoPkinS chair oF drawinG: 

ProFeSSor StePhen FarthinG 

Launched in February 2008, the Centre for 

Drawing (CfD) supports research into drawing 

across University of the Arts London (UAL). 

Working with artists, designers, researchers and 

external partners we develop seminars, conferences, 

research projects and publications that 

maximise our contribution to knowledge in our 

field. In addition the Centre provides specialist 

supervision for a cluster of research students. 

College Coordinators 

Each college of the University has a CfD 

coordinator who provides research support and 

initiates and programmes events. These include: 

The Forum for Drawing at London College of 

Fashion; The Drawing Group at London College 

of Communication and the annual Procedures & 

Enquiries Symposium at Camberwell, Chelsea 

and Wimbledon. 

International Collaborations 

The Centre’s research focus is on understanding, 

defining and expanding the uses of drawing. 

This year we will be receiving Kit Wise, Artist 

and Head of Fine Art at Monash University 

and Peter Robinson, University of Auckland as 

Visiting Fellows. Over the past two years a series 

of conferences designed to explore drawing and 

subject matter: Drawn Encounters, Complex 

Identities (2008) and Archive/CounterArchive (2009) 

were organised in partnership with Monash 

University, Melbourne. Collaborations have also 

taken place with The University of Auckland, 

New Zealand and The National Art School Sydney. 

PhD Programme 

Professor Avis Newman coordinates weekly PhD 

seminars in the project space at Wimbledon 

College of Art, which has resulted in the 

development of a strong PhD community. Over 

257 

the past year, two distinct areas within research 

culture have emerged: Drawing in Relation to 

Semiotics; Drawing and Memory and Diaspora. As 

a site that is part studio, part exhibition space, the 

CFD Project Space aims to encourage a discourse 

and exchange between postgraduate students, 

fine art researchers and artists from both within 

the University and beyond. From time to time 

PhD students will lead projects, a recent example 

is ‘The Drawing Field’, a series of master classes 

coordinated by PhD student Maryclare Foa, aimed 

specifically at the postgraduate and research 

student community which interrogates a diverse 

range of individual approaches to drawing. 

2009–10 Projects 

Our primary focus is the development of research 

projects and study programmes relating to the 

sketch and drawing book. Capturing the Concept, 

an exhibition originated by the CfD, will tour to 

the Royal Academy of Arts and Edinburgh College 

of Arts. In September 2009 we will publish The 

Sketchbooks of Nicholas Grimshaw 1980–2009 in 

collaboration with RA Publishing. This publication 

is the first in a series that tracks idea development 

in artist and designers’ drawing books. 

Current international projects include: Significant 

Sites, a conference that takes subject matter as its 

theme, is jointly organised with Monash 

University and University of the Arts Sydney and 

will take place in London during the summer of 

2010, Drawing Out a conference that explores the 

bigger picture of drawing within the university 

curriculum, organised with RMIT to be held in 

Melbourne, spring 2010, and Drawing the World an 

exhibition of drawings by UAL academic staff 

held at the University of Seoul, autumn 2009. 

(www.thecentrefordrawing.org)

258 

liGatuS 

The Ligatus research unit offers a unique environment 

within the University of the Arts London, 

where the study of the history of bookbinding 

and book conservation is combined with research 

into modern digital data analysis and collection 

management tools. Current projects include: 

Saint Catherine’s Monastery Library Project, Mount 

Sinai, Egypt 

The monastery of St Catherine in the Sinai, Egypt, 

is the oldest active Christian monastery in the 

world. The monastery’s library holds a unique 

collection of Byzantine manuscripts. Ligatus has 

undertaken the task of assessing the condition 

of the manuscripts, is designing a new conservation 

workshop and is advising on further 

conservation work. 

This project is largely funded by the Saint 

Catherine Foundation with additional support 

from the Headley Trust. 

Bookbinding Glossary 

A project to create a detailed bookbinding 

glossary which can be edited on-line by experts 

located in different countries. The glossary will 

also serve as the basis for an on-line descriptive 

process to record bookbindings. It will first appear 

in English and Greek. 

This project is funded by the Arts & Humanities 

Research Council (AHRC). 

director: ProFeSSor nicholaS Pickwoad 

Digital archive of bookbinding 

30 000 slides of the bound manuscripts in the 

Saint Catherine’s Monastery Library, taken as part 

of the survey, have already been digitised with 

funding from the Headley Trust and are now 

joined by a large collection of digital images of the 

bindings on the early printed books. Ligatus will 

also be the repository of an additional, unrivalled 

collection of materials relating to the history 

of bookbinding donated by key scholars who have 

worked internationally in major public and private 

collections. Wherever possible, these images 

will be made available on the Ligatus website. 

John Latham Archive 

The visionary British artist John Latham died on 

1 January 2006. His influence on the visual arts is 

remarkable and yet consistently underrepresented 

in the literature. His philosophical 

ideas on Events and Event Structures and ‘Flat 

Time Theory’, a unifying overview of the world, 

are fascinating, complex and worthy of serious 

study. By focusing on such an original, highly 

theoretical artist, the John Latham Archive 

project argues for the need for creative solutions 

to the methodological and technical challenges 

posed by artists’ archives. These solutions will be 

tested against, and adapted to, other private and 

institutional archives. 

This project is funded by the AHRC and the Henry 

Moore Foundation. 

Exhibition Archives 

The history of exhibitions, particularly of 

contemporary art exhibitions from the late 1960s, 

is an emerging field of investigation at the 

convergence of art history, curatorial and social 

studies. As a centre dedicated to the study of 

archives and conservation, Ligatus is well 

positioned to develop theoretical and practical 

frameworks for the analysis of exhibitions. 

Projects related to this axis of research include 

an online resource for the exchange of 

information about exhibitions and a series of 

workshops devoted to specific exhibition 

archives.

liGatuS 

Ligatus Summer Schools 

The purpose of the Ligatus Summer School is to 

uncover the possibilities latent in the detailed 

study of bookbinding and it focuses mainly on 

books which have been bound between the 15th 

and the early 19th century. 

Over the past four years courses have taken place 

in Volos, Patmos and Thessaloniki. The courses 

also offer visits to important local libraries, 

both secular and monastic. A knowledge of the 

structure of bindings can help conservators, 

librarians, book historians and scholars who work 

with old books to understand the age, provenance 

and significance of bindings for historical 

research and cataloguing, as well as to make 

appropriate decisions regarding conservation 

treatments, housing and access. Descriptions of 

bindings are also important for digitisation 

projects, as they dramatically enrich the potential 

of image and text metadata. This is particularly 

important for collections of manuscripts and 

early printed books. 

259 

Ligatus areas of PhD research 

> The interface of new technologies and creative 

practice. 

> Historic bookbinding in Europe, the Middle East 

and the Americas. 

> Digital applications to bookbinding and 

conservation. 

> Creative archiving. 

> Online archiving. 

Ligatus cooperates with institutions such as: 

> School of Advanced Study, University of London. 

> Centre for the Study of the Book, Bodleian 

Library in Oxford University. 

> Museum of Byzantine Culture in Thessaloniki, 

Greece. 

> Institute of Byzantine Research, Athens, Greece. 

> Istituto centrale per il restauro e la 

conservazione del patrimonio archivistico e 

librario, Rome, Italy. 

> Wellcome Trust Library, London. 

(www.ligatus.org.uk) 

bookbinding detail

260 

Sciria 

The SCIRIA (Sensory Computer Interface 

Research & Innovation for the Arts) research unit 

and the research project FADE (Fine Art Digital 

Environment) will be working together under the 

leadership of Professor Paul Coldwell during 

a transition stage until the end of 2009. SCIRIA 

(Sensory Computer Interface Research and 

Innovation for the Arts) focuses on arts and 

science collaborative research. Currently, within 

SCIRIA Dr John Tchalenko leads the Leverhulme 

funded project Drawing and Cognition: 

How is something that is perceived by the eye transformed 

into movement of the hand resulting in 

a wonderful drawing? The 2year Leverhulme project 

investigates this question with eye tracker tests 

(Dr Tchalenko at Camberwell College of Arts) and 

fMRI neuroimaging tests (Professor Miall at the Brain 

& Behaviour Centre, University of Birmingham). 

The methodology for this dual approach has recently 

been developed by Tchalenko and Miall in a 

series of articles in leading cognitive journals. Two 

complementary peerreviewed outputs are planned 

in the form of contributions to learned cognitive 

science journals, and a 52minute popular film 

targeting all school institution where drawing is 

taught. 

James Faure Walker, a painter with an 

international reputation, leads research which 

considers the potential use of the computer 

within painting. 

actinG director: ProFeSSor Paul coldwell 

Using paint programs in painting, especially abstract 

painting, it is now less about ‘virtual’ art forms, and 

more about adaptation. Watercolour, with its peculiar 

history, is one interest, another in development is a book 

that connects 1920’s drawing books and current 

software. Papers include,‘Drawing Lessons for Ants’ 

(ISEA 2009 paper, Belfast), ‘Origins of Artscribe’ 

(criticism in the 1970’s, Artists’ Writings, Courtauld 

Institute and Computer Space (invited lecture on 

Painting and the Computer) Sofia, Bulgaria. 

SCIRIA runs the lecture series OpenMind and 

AppliedMind workshops, which are open to all 

and include external speakers and PhD students. 

FADE brings together staff and research students 

in practice based research using the computer in 

relationship to established technologies. Professor 

Paul Coldwell and Dr Barbara Rauch have 

just completed a two-year AHRC funded project 

‘The Personalised Surface within Fine Art Digital 

Printmaking’ and Coldwell will be presenting a 

paper on this research at the Impact Printmaking 

Conference at UWE, Bristol in September. Also 

through FADE, ‘Points of Contact’, (a collaborative 

exchange exhibition with the Instituto De Artes 

in Porto Alegre ,Brazil), will be re-staged, in the 

Chelsea Triangle Space between the 28 September 

and 3 October 2009, featuring work by Jonathan 

Kearney (AL in Digital Arts), Dr Tim O’Reilly 

(Research Fellow at Chelsea), Maria Lucia Cattani 

(Brazil) and Paul Coldwell, with an accompanying 

symposium.

Sciria 

Professor humphrey ocean painting subject using eye-tracker 

261

262 

train 

director: ProFeSSor toShio watanabe 

The University of the Arts London research centre 

for Transnational Art, Identity and Nation 

(TrAIN) is a forum for historical, theoretical and 

practice based research in architecture, art, 

communication, craft and design. 

In an increasingly complex period of globalisation, 

established certainties about the nature of 

culture, tradition and authenticity are being 

constantly questioned. The movement of peoples 

and artefacts is breaking down and producing 

new identities outside and beyond those of 

the nation state. It is no longer easy to define the 

nature of the local and the international, and 

many cultural interactions now operate on the 

level of the transnational. Focusing on how 

the movement of both people and artefacts breaks 

down borders and produces new identities 

beyond those of the nation state; the Centre aims 

to contribute to both creativity and cultural 

understanding. 

Central to the Centre’s activities is a consideration 

of the impact of identity and nation on the 

production and consumption of artworks and 

artefacts in this new global context. Transnational 

relationships are explored through crossings 

that traverse different media including fine art, 

design, craft, curation, performance and popular 

art forms. 

The centre grew out of an established Chelsea/ 

Camberwell research group active since 

1993 and involves internationally recognised 

scholars and practitioners at three colleges of 

the University of the Arts London: Camberwell 

College of Arts, Chelsea College of Arts and 

Design and Central Saint Martins College 

of Art and Design. It also includes a community 

of post-graduate students pursuing historical, 

theoretical and practice-based research degrees at 

both MA and PhD level. 

Core members of the Centre are Professor Toshio 

Watanabe (Director), Professor Oriana Baddely 

(Deputy Director), Professor Deborah Cherry 

(Associate Director), Dr Michael Asbury, Sutapa 

Biswas, Dr Yuko Kikuchi, Rebecca Salter, Dr Julian 

Stair, Carol Tulloch and Dr Isobel Whitelegg. 

Members contribute to TrAIN’s activities by 

completing group and individual research 

projects and through the supervision of relevant 

postgraduate study. Issues and debates arising 

from research activities are disseminated by 

TrAIN conferences, exhibitions and publications. 

Throughout the academic year, TrAIN organises 

Open Lectures at Chelsea College of Art 

and Design and Conversations at Central Saint 

Martins which are open to the public and at 

which artists, theorists and curators present their 

work and ideas. 

Current TrAIN projects include Forgotten 

Japonisme, the Taste for Japanese Art in Britain 

and the USA, 1920s–1950s’ (AHRC funded); 

Meeting Margins, Transnational Art in Latin 

America and Europe, 1950–1978 (in collaboration 

with the University of Essex, AHRC funded). 

Previous TrAIN projects include British Empire 

and Design; Ruskin in Japan, 1890–1940, Nature 

for Art, Art for Life; Other Modernities; Refracted 

Colonial Modernities: Identities in Taiwanese Art 

and Design; and Modernity and National Identity 

in Art: India, Japan and Mexico, 1860s–1940s.

train 

antonio manuel, 

ocupações / descobrimentos 

(occupations / discoveries – installation 

view), museum of contemporary art 

niterói, 1998 

(photo by v. de mello) 

train workshop with anna maria maiolino, may 2008 

263

264 

Graduate School PartnerShiPS

Graduate School PartnerShiPS 

One of the most significant and distinctive aspects of the C-C-W Graduate 

School is the range and quality of its external partnerships and networks 

with the cultural industries, organisations and institutions in London, the 

UK and Internationally. Many of these relationships have been built up 

over the years by the individual colleges and have resulted in a number of 

research projects, staff and student exchanges and funding opportunities. 

At present, we are developing specific links and partnerships on a more 

strategic level with a smaller number of institutions and networks that 

reflect the ethos of the Graduate School and our chosen thematic lines 

of enquiry. Currently we have strong links with the following key institutions 

and organisations with whom we are looking to forge longer-term 

partnerships with to support the work of C-C-W and the Graduate School 

in particular: 

> The Barbican Centre, London, UK. 

> Cape Farewell, London, UK. 

> Central Academy of Fine Arts, Beijing, China. 

> Columbia College, Chicago, USA. 

> Design Research Society, UK. 

> European League of Institutes of the Arts, The Netherlands. 

> EWAH, Womans University, Seoul, South Korea. 

> Royal Melbourne Institute of Technology, Melbourne, Australia. 

> The Saint Catherine Foundation, UK. 

> Singapore Economic Development Board, Singapore. 

> Southbank Centre, London, UK. 

> South London Gallery, UK. 

> Tate Britain, London, UK. 

> Tokyo Wondersite, Japan 

> Tsinghwa University, Beijing, China. 

> United Nations University, Tokyo, Japan. 

> Victoria and Albert Museum, London, UK. 

This list is by no means definitive as it does not include the large number 

of important partnerships that exist in relation to more time specific 

individual research projects and research degree programmes of study. 

265

aPPendix

269 how to aPPly and entry reQuirementS 

270 contact detailS 

267

One of the most important things to do is find 

out as much information about the course 

or research programme as you can. Please read 

the prospectus, check the UAL website 

(www.arts.ac.uk) and where possible visit us on 

an open day to get a full understanding of 

what the courses are about, and the selection 

criteria for each course. This will give you 

the best possible chance when applying for 

your chosen course. 

entry reQuirements 

Postgraduate Diploma 

> An Honours degree or equivalent academic/ 

professional qualifications. 

> Applicants who do not have English as a first 

language must show proof of IELTS 6.0, or 

equivalent, in English upon enrolment. 

> The College takes into consideration prior 

learning, alternative qualifications and 

experience. 

Masters Degrees 

> An Honours degree or equivalent academic/ 

professional qualifications. 

> Applicants who do not have English as a first 

language must show proof of IELTS 6.5, or 

equivalent, in English upon enrolment, with 

the exception of MA Critical Writing and 

Curatorial Practice which requires an IELTS 

level of 7.0. 

> The College takes into consideration prior 

learning, alternative qualifications and 

experience. 

Research (MPhil and PhD) 

The minimum entry requirement is an upper 

second class honours degree from a British 

university, or from a recognised higher education 

institution. A Master’s degree in an appropriate 

how to aPPly and 

entry reQuirementS 

269 

subject is considered to be particularly valuable in 

preparing candidates for a research degree. 

Applicants who do not have English as a first 

language must show proof of IELTS 7.0 or 

equivalent in English within the application 

form. In some instances, applicants without this 

requirement may be considered if they can 

demonstrate appropriate alternative qualifications, 

professional experience or previous 

research. 

appliCation Forms 

Applicants for taught postgraduate courses can 

download the application form by clicking the 

‘Apply’ tab on the relevant course information 

page. You can also pick up application forms 

at our open days or contact: 

Graduate School Administrator 

Camberwell, Chelsea, Wimbledon 

C-C-W Graduate School 

16 John Islip Street 

London SW1 P 4 JU 

T +44 (0)20 7514 9600 

E ccwgraduateschool@arts.ac.uk 

Applicants for Research Degrees can download 

the application form from the University or 

College websites, or you can request one from: 

Laura Lanceley 

Research Degrees Administrator 





T +44 (0)20 7514 7836 

E l.lanceley@arts.ac.uk

270 

Professor Chris Wainwright 

Head of Colleges 


C-C-W Executive 



T +44 (0)20 7514 7895 

E c.wainwright@arts.ac.uk 

Professor Linda Drew 

Dean of Graduate School 





T +44 (0)20 7514 7753 

E l.drew@arts.ac.uk 

Professor Oriana Baddeley 

Director of Research 





T +44 (0)20 7514 6307 

E o.baddeley@arts.ac.uk 

contact detailS 

Professor Stephen Scrivener 

Director of Doctoral Programmes 





T +44 (0)20 7514 2089 

E s.scrivener@arts.ac.uk 

Graduate School Administrator 





T +44 (0)20 7514 9600 

E ccwgraduateschool@arts.ac.uk 

Laura Lanceley 

Research Degrees Administrator 





T +44 (0)20 7514 7836 

E l.lanceley@arts.ac.uk

c-c-w Graduate School launch directory 2009 

editor: chris wainwright 

assistant editor: kate Sedwell 

editorial team: oriana baddeley, linda drew, kate Sedwell 

thanks to hannah Fitzgerald, Patricia Forbes, claire Foss, 

cliff hammett, laura lanceley, anne lydiat, Susie morrow, 

david revagliatte, kerry Sullivan, Sian Stirling, matthew 

whyte and roger wilson 

design: Paulus m. dreibholz 

Printing: cassochrome, belgium 

Published by: 

c-c-w Graduate School 

16 John islip Street 

london Sw1P 4Ju 

+44 (0)20 7514 7895 

this title was published as part of the bright series of 

publications produced by c-c-w. 

iSbn 978-0-9558628-1-6 

© 2009, Graduate School, c-c-w and contributors

ISBN 978-0-9558628-1-6

GRADUATE SCHOOL LAUNCH DIRECTORY 2009 - Chelsea ...

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