This year’s cohort of first year PhD students at CCW are showing their exhibition, Process Practice Play, in the Triangle Space at Chelsea College of Arts, 4-7 March 2014. The students organising it are Stephanie Cheung, Anna Gialdini, Altea Grau-Vidal, Bridget Harvey, Jina Lee, Keunhye Lee, Lana Locke, Mohammad Namazi, Vanessa Saraceno, Hiroki Yamamoto and Josh Y’Barbo. Here is what they have to say about the exhibition:
“Although our practices are very different, we all are art-researchers. We all play with ideas and we all follow a process unique to ourselves in taking that idea all the way through to its final form.
“Thus, within this show we will celebrate two crucial moments that actually constitute our practice: what we produce and the way we produce, extending to writing as much as to artwork. To put it brutally, each person will bring two works, one that can be considered ‘finished’ and another ‘unfinished’, a work alongside that gives an insight into the playful, experimental and investigative nature of the process. We will show that which is normally hidden: the ideas that are embryonic, that are discarded, that may never make it to being a finished work, but are at the heart of our research. The exhibition will demonstrate thinking in action and consider play in its many manifestations as a valid strategy within research, a tool of the work.”
The private view for Process Practice Play is on 4 March 2014. Everyone is welcome.
From our current ‘after the future’ position, where utopias have been crushed under the awareness that ‘the myth of the future is rooted in modern capitalism’ (Bifo), our imagination persistently draws on an extensive repository of symbols, forms and technologies rooted in history, imagination and memory. Yet, utopian visions of the future loomed large in the modern age, often fuelled by spectacular advancements in technology, applied arts and industries. Even though sequential temporalities and cyclical views of the past have become forcefully questioned by new technologies, the past is still a reservoir, repository and treasure-trove of cultural and symbolic signification which continues to be revisited and reconstructed imaginatively by individuals and communities. The further into the future you look, the further back in time you seem to get… The conference will address questions such as: is memory scrambled, reversed, reconstituted? Is the future a thing of the past? Is ‘no future’ the new future? How do ancient myths and narratives construct future scenarios? How are myths and histories re-worked in contemporary artistic practises of the future present?
Memories of the Future will take place on 2-3 May 2014 at Chelsea College of Arts (UAL) & Institute of Modern Languages Research (IMLR), School of Advanced Study, University of London. Keynote addresses will be by Professor Alberto Abruzzesse and Dr Malcolm Quinn.
The full programme will be unveiled next week (week of 3 March 2014) on the CCW website. For more information email [email protected].
Book a place here.
Forming a fresh debate on printmaking and the artist’s folio, CCW Professor Paul Coldwell has curated the exhibition The Artists Folio: as a site of inquiry.
This unique exhibition presents a selection of folios from the city’s print collection featuring lithographs by Lowry, Rakes Progress by Hogarth and David Hockney; Sonia Boyce, Chris Ofili, Hew Locke – from the Rivington Folio, INIVA; William Rothenstein’s 1921 dry-points ‘Landscapes of War’; Glen Baxter’s humorous lithographs and Patrick Caulfield’s boldly coloured screenprints. The exhibition spans a printmaking renaissance over the 60s, 70s and 80s in particular. A series celebrating the 2012 London Olympics features Bob and Roberta Smith, Martin Creed, Rachel Whiteread and Tracey Emin. On loan is a framed Intaglio set celebrating twenty-five years of Angela Flowers Gallery, London, including Nicola Hicks, Glenys Barton, Renny Tait and Tai-Shan Schierenberg – all past and future exhibitors at Bradford Museums and Galleries, with other well known artists such as Patrick Hughes and Peter Howson. Visitors can see full sets of prints in their entirety, displaying the full series and sequence of prints, as the artist originally intended. A fully illustrated catalogue is available from Cartwright Hall with an essay by Coldwell and a symposium is being planned. Further details are available on the Bradford Museums and Galleries website.
Coldwell will be blogging for the exhibition which runs 8 February – 15 June 2014.
Chelsea’s MRes Arts Practice is holding a symposium which asks, What is Research in Art and Design? The symposium will be held at Chelsea College of Arts in the Green Room on Wednesday 26 February beginning at 2pm. Speakers and topics include:
Huihui LIU – An “Absurd” Research
Micha Eden Erdesz – Synesthesic Purposes
Anna Loveday Minshall – Peircean Sense Out of a Pigs Ear
Penny Georgiou – From the Unknown Unknown to the Known Known
Leekyu – Painter, body and expression
Chenyun LIU – Traditional Culture and Colonialism – China and British Hong Kong on contemporary art in 1980
MRes Arts Practice is a taught MA course, providing a structured introduction to research in art and design fields for students who plan on progressing to MPhil / PhD level. For more information about the symposium please email [email protected].
CCW Graduate School is pleased to announce the publication of Thinking through Drawing 2012: Drawing in STEAM. The publication is the product of the symposium of the same name held 12-14 September 2012 at Wimbledon College of Art. The event was organised by Angie Brew (CCW PhD student, University of the Arts London), Michelle Fava (Loughborough University) and Andrea Kantrowicz (Teachers College, Columbia University). Speakers were invited to the three-day event from a wide array or professions, including IT, cognitive psychology, fine art and performance and surgery to discuss the role that drawing plays in their work.
The symposium asked, how is drawing used within and between STEM disciplines (science, technology, engineering and maths)?. What is the relationship between drawing practices in the Arts and in STEM subjects? What is our current understanding of drawing, cognition and learning, and how is it contributing to curriculum development in instructional design in these areas? Four artists, Yoon Bahk, Robert Shadbolt, Shaun Belcher and Sarah Blake, scribed throughout the event, translating concepts and themes presented by the speakers into illustrations and images. This artwork has recently been reproduced in the book, which was partially funded by CCW Graduate School.
Angie Brew is a drawing teacher and practitioner, currently researching enactive observational drawing methods and pedagogy for her doctorate. Her art practice explores secular approaches to death, and drawing for well-being. She leads a community project Drawing Growth in Brixton, London and teaches privately. She also works for ArtsExpress, a community arts education charity. She founded and directs Thinking through Drawing, International Drawing and Cognition Research and 123 Draw with Michelle Fava and Andrea Kantrowitz. More information about Angie and her collaborators can be found on the Drawing and Cognition website.
A pdf of the publication can be downloaded here. Thinking_through_Drawing_book__web