In recent years, a significant amount of attention has been given to the relationship between art and labour, to the nature of artistic labour, and to the feminist critique of Marxist thought on reproduction. Yet in different ways, these... more
In recent years, a significant amount of attention has been given to the relationship between art and labour, to the nature of artistic labour, and to the feminist critique of Marxist thought on reproduction. Yet in different ways, these analyses have been based on a hylomorphic model of creation, in that they take for granted the domination of form over inert matter, and characterise the labour of maintenance as repetitive toil,which is counterpoised to the inventive creative work of the artist.This practice-based doctoral project asks how furnished spaces such as the studio, workshop and home contribute to t he processes from which art works emerge. The project examines the 'reproductive' work involved in furnishing working spaces and maintaining t hem, through engaging in aseries of practice-based approaches (painting, drawing and print-making). It initiated from an exploration of the constraints and opportunities of domestic arrangements for the production of art works t...
Abstract This Introduction and interview discusses the poetical and empathic insights that are a key to the effectiveness of contemporary artist Christine Borland's practice and its relevance to the medical humanities, visual art... more
Abstract
This Introduction and interview discusses the poetical and empathic insights that are a key to the effectiveness of contemporary artist Christine Borland's practice and its relevance to the medical humanities, visual art research and medical students’ training. It takes place in a context of intensive interest in reciprocity and conversation as well as expert exchange between the fields of Medicine and Contemporary Arts. The interview develops an understanding of medical research and the application of its historical resources and contemporary practice-based research in contemporary art gallery exhibitions. Artists tend not to follow prescriptive programmes towards new historical knowledge, however, a desire to form productive relationships between history and contemporary art practice does reveal practical advantages. Borland's research also includes investigations in anatomy, medical practices and conservation. Keywords: anatomy, medicine and contemporary art, sculpture, museum
... 1 (1961-62) typified the solitary approach to the natural environment and yet her legacy must be contrasted with twentieth ... modern and postmodern international art developments, notably those in technological and contextual... more
... 1 (1961-62) typified the solitary approach to the natural environment and yet her legacy must be contrasted with twentieth ... modern and postmodern international art developments, notably those in technological and contextual practices such as video, public art and participatory ...
SOUND OUT is an open, public discussion for Galway's local artists and organisations from both City and County. Arts workers in the visual arts, theatre, dance, literature, music, performance, art education are invited to come... more
SOUND OUT is an open, public discussion for Galway's local artists and organisations from both City and County. Arts workers in the visual arts, theatre, dance, literature, music, performance, art education are invited to come together and become informed about the bid process, contribute to the discussion and help identify possible benefits and shortfalls. The event will also highlight how strategic investment in the cultural infrastructure of the city in preparation for becoming a Capital of Culture can result in sustainable benefit to the arts community in Galway. SOUND OUT will be a platform to ask questions and to learn ... • How the Capital of Culture could benefit your local community. • What are the cultural impacts and possible long-term benefits of holding the title “Capital of Culture” • What are the common difficulties that can arise within communities during ECoC. • Learn how you can get involved. • Hear from the European Capital of Culture Galway 2020 Bid Team abou...
I argue that students of art regularly imagine an experimental and exploratory curriculum for society in ‘spaces marked for art’. This is considered here in my talk in number of ways, for instance the competitive inclusion in the Museum... more
I argue that students of art regularly imagine an experimental and exploratory curriculum for society in ‘spaces marked for art’. This is considered here in my talk in number of ways, for instance the competitive inclusion in the Museum collection or display; representation in the modernist gallery; activity in the site of training, for example in art departments at Universities; productive life in the studio; and finally developing an exemplary approach to context through investing non-art sites with something special.
Britishness conveyed through visual art suggests both a spectrum of alliance and an assumption of complicity (with Britishness), which is increasingly untenable in the context of regional political devolution. Untenable because in the... more
Britishness conveyed through visual art suggests both a spectrum of alliance and an assumption of complicity (with Britishness), which is increasingly untenable in the context of regional political devolution. Untenable because in the field of contemporary British culture means there is always a dominant regional inflection; regional and inter-regional identities often prevail over the national. For many the term Britishness increasingly means not Greatness but Englishness. This essay discusses this through a range of postwar and contemporary exhibitions, critical overviews, characterizations and related political discourse, and visual art practices that develop and contribute to the idea of an explicitly contemporary English Art.
This book chapter arose from earlier AHRC-funded curatorial collaboration with Ross Sinclair, ‘Ross Sinclair versus Sir Edwin Landseer’, Aberdeen Art Gallery and Museum, 2007. A section of book chapter discusses that 2007 output and... more
This book chapter arose from earlier AHRC-funded curatorial collaboration with Ross Sinclair, ‘Ross Sinclair versus Sir Edwin Landseer’, Aberdeen Art Gallery and Museum, 2007. A section of book chapter discusses that 2007 output and others in Sinclair’s oeuvre as exemplifying an idea of Northern migration and temporary residence as fructifying experiences (and as a counterpart to Richardson’s article ‘Contemporary Scottish Art and The Landscape of Abandonment’ in Visual Culture in Britain (vol.11 / 3, 2010). The book chapter, and a later book proposal, were the subject of Richardson’s presentation at the Royal Scottish Academy, Edinburgh, 2nd August 2012, as part of the publicised activities for the launch of the Edinburgh International Art Festival 2012.
John Latham’s (1921- 2006) ‘monuments to the period we live in’, two partially preserved groups of oil shale bings initially the voluminous waste by-product of early energy production industries in Scotland, were a synthesis of methods... more
John Latham’s (1921- 2006) ‘monuments to the period we live in’, two partially preserved groups of oil shale bings initially the voluminous waste by-product of early energy production industries in Scotland, were a synthesis of methods originally developed by the Artist Placement Group and concepts within the manifesto of Auto-destructive art (Metzger, 1965). This presentation references Richardson’s publications for Tate Britain (Tate Papers, no. 17) and Map magazine (issue 11, 2007) as well as scholarly research undertaken by Anthony Hudek, and John A. Walker, environmental research undertaken by Barbra Harvie and theoretical writing of Michel Serres and Robert Morris, as well various documents and texts contained in the Artist Placement Group Archive at Tate Britain’s Hyman Kreitman Research Centre. Richardson continues his, by now ten year, exploration of why the reimagination of these sites, which Latham renamed Niddrie Woman and Five Sisters, as ‘monumental process sculptures’...
