Mostrando recursos 1 - 12 de 12

  1. Plastic Vanitas #3

    Downing, Mike
    Image hosted by LoosenArt in the 'Vanitas#2' exhibition held in Cagliari – Italy, gallery LAB-A, 8th – 14th December 2016 Study after the Dutch masters of still life and the vanitas, entirely in plastic. Where Claesz and his contemporaries set out to highlight the transience of life and futility of object based wealth, this vanitas set entirely in cheap plastic considers objects, which in their organic form would be fleeting – subject to decay and the ravages of time. Their plastic counterparts, however are practically immortal, destined to outlive their owners and manufacturers in landfill. This is a most digital response to...

  2. Pedestrian Encounters

    Downing, Mike; O'Meara, Adam
    Collaborative photographic project in conjunction with Frequency Festival and co-creator Adam O'Meara. Over a two day period 100+ unique portraits were gathered of willing public participants using a methodology of careful alignment and lighting. Images were digitally combined using several algorithms in order to find create the 'average' face of the festival. The intention was to move the portrait away from a form that seeks to highlight the individual in favor of the communal. Images were (and continue to be at the time of writing) available for viewing online.

  3. TextImageText

    Bracey, Andrew
    TextImageText is a series of interventions into the Broadcaster’s two sites in Waddington and Wellingore by eight artists over a 12 month period in 2017-18. Two different artists are shown each seasonal quarter, one in each noticeboard during the period, culminating in eight different artworks through the year. Each artwork will deal with the visual in text and/or the textural in the visual, through the selection of artists. The Broadcaster in Waddington is at The Methodist Chapel, High st, Waddington LN5 9RF. The Broadcaster in Wellingore is atThe Reading Room and Chapel, High St, Wellingore, LN5 0HW. TextImageText is curated by Andrew Bracey.

  4. ABBA (on tour) the practice of process

    Bartram, Angela; Bracey, Andrew
    ABBA (on tour) the practice of process by Angela Bartram and Andrew Bracey Project Space Plus 13-24 March 2017 ABBA is the curatorial and artistic collective of Angela Bartram and Andrew Bracey, two artists engaged with the act of making and process with divergent outcomes. ABBA seeks to create a conversation of interrogative and inquisitive practice born of doing. The maker is saturated in the environment of exhibition and debate: the event is part residency, part production, part curatorial, part performance and part installation. This is live artistic research: talks, actions, artefacts, deliberations, provocations, ruminations, speculations, invention and creative assembly, process and...

  5. Dr Christopher Marlow: 'systems of control?: Shakespeare, cultural materialism and agency'

    Marlow, Christopher; Rowcroft, Andrew
    In this paper I address a recent debate about the role of human agency in cultural materialism. Cultural materialists, above all else, analyse texts from a materialist rather than an idealist perspective, and over the last thirty years this has proven transformative for Shakespeare studies. Unfortunately the approach has also been regularly misunderstood, and in looking at why that might have been the case I want to draw out some aspects of what the approach has inherited from Marxism. I argue that cultural materialism is far more sceptical about the so-called ‘systems of control’ associated with thinkers such as Althusser...

  6. Dr Siân Adiseshiah: Ageing, Utopia and G.B. Shaw’s Back to Methuselah

    Rowcroft, Andrew; Adiseshiah, Sian
    George Bernard Shaw’s five-part play, Back to Methuselah (1921), presents an epic expanse of time: from the beginnings of Creation with Adam and Eve in Part One to the year 31,920 – ‘As far as Thought Can Reach’ – in Part Five. The utopian worlds of Parts Four and Five come about through extended life, which is considered key to creating the long-term vision deemed central to establishing the good life. In this paper, I examine the relationship between ageing and utopianism in Back to Methuselah. The play – in common with most utopian drama – has been neglected by...

  7. Dr Owen Clayton: Punks, Prushuns, and Gay-cats: on the road with Jack London and 'A.No.1'

    Rowcroft, Andrew; Clayton, Owen
    From the 1870s onward, repeated economic depressions forced thousands of men and women to travel across the USA in search of work, often illegally hopping trains. Among them were the writers Jack London and Leon Ray Livingstone (the latter known by his hobo moniker, A.No-1). As this paper will argue, London’s tramp writings are a battleground upon which his political and literary aesthetic of dominance clashes with the reality of his own vulnerability as a homeless youth. His account of hobo life,The Road (1907), is haunted by the spectre of submission to the will of other men, including, but not...

  8. Professor Mike Neary, An introduction to the work of Karl Marx: science of revolution and revolutionary science

    Rowcroft, Andrew; Neary, Mike
    In this lecture I claim that the work of Karl Marx (1818-1883) was not only a science of revolution but also a revolutionary science, constituting a scientific revolution in social and political thought. This claim is based on Marx’s discovery of the dynamic substance: value in motion (Capital Vol 2 ), on which the social universe of Capital is founded: a dynamic substance that is unknown and invisible to the methods of bourgeois social science. This claim is grounded in a reappraisal of Marx’s social theory that seeks to recover and develop the revolutionary proposition in Marx’s writing through ‘a...

  9. 'Sustainable Futures: Can design make a difference' travelling exhibition, Design Museum.

    Chick, Anne
    Chick was a curatorial advisor on the 'Sustainable Futures: Can design make a difference' exhibition content. In addition, to advising on how the travelling exhibition structure could be designed and constructed to be environmentally considered. The priority was the design of an exhibition structure that was lightweight and would take up minimum space when transported, as well as specifying ec-materials. The exhibition showed the changing role of the designer and revealed how design can make a difference. The exhibition profiles the latest developments in sustainable design, as well as offering a fresh platform to new products which encourage us to look...

  10. 'What is sustainable design?': The Greengaged exhibition

    Chick, Anne; Thomas, Sophie
    Chick co-founder with Sophie Thomas Greengaged (2008-2011) a not-for-profit design for sustainability knowledge exchange project which had over 4,000 participants to its events as part of the 2008 and 2009 London Design Festival and 2009 Beijing Design Week. At the 2009 ICOGRADA / World Design Congress and 1st Beijing Design Week Chick and Thomas hosted a five day co-creative workshop on sustainable design with congress delegates followed by an exhibition created by the 24 workshop attendees.

  11. Audio descriptors: 3D Printing: The Good, the Bad and the Beautiful

    Chick, Anne
    Nine audio descriptions were written, performanced, and recorded, but eight descriptors used for the multi-sensory desks in the '3D Printing: The Good, the Bad and the Beautiful' exhibition at the National Centre for Craft & Design. Each descriptor aimed to describe verbally the appearance and physicality of each exhibit and / or the design, social, economic, and cultural context of a specific displayed exhibit. In addition, the key concept and themes of the exhibition was explained and illustrated. Each audio descriptor is approximately 150 seconds long and could be listened to on a trimphone placed on a multi-sensory desk.

  12. Troca de Trabalhos [Curated by Mariana de Castro]

    Lang, Martin
    Four years after graduating from the MA Paining programme at Wimbledon College of Art, 20 artists made 20 artworks and sent them to Galeria-Atelier Metamorfose in Porto, Portugal. One copy was retained by the gallery, the other 19 were distributed - one to each artist in the exhibition, so that each artist now has a collection. The exhibition speaks to how artists can support each other in non-economic ways and how artists can create social bonds through acts of kindness and donation.

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