Leeds Arts University Repository (CREST)
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Illustrations for A Clockwork Orange
No full textThe output is a series of illustration commissioned by the Folio Society in 2014 to illustrate Anthony Burgesses’ ‘A Clockwork Orange’. It includes the binding and seven internal illustrations. Research Process: The brief was to illustrate the book as the text intended rather than in the iconic style that was presented in Stanley Kubrick’s film from 1971. The cover took reference from Kubrick’s film with the use of a bowler hat. There is no reference to bowler hats in the book itself. The illustrations took influence from soviet and eastern European design and illustration as well as from the streets of Manchester. As Burgess quoted that the book takes place somewhere in-between Manchester (Burgess grew up in Manchester) and Moscow. Jones used collage to produce the works using contrasting elements of printmaking, drawing and found imagery. this was to mimic the slang language of Nadsat that is spoken by the characters in the book. Nadsat is a combination of UK slang and Russian. Research Insights: Stanley Kubrick’s film has played a big part in how audiences think about the novel. The use of the bowler hat is significant as part of the cover illustration even though no bowler hats are mentioned in the novel. There is a sense of illustrative works that were produced under the gaze of the iron curtain. By drawing upon cautionary fairy tales and the dystopian version of the city the work conveys a subtle, possible something that exists outside the frame of illustration, something that makes the viewer feel a bit jittery. Dissemination: The illustrations were published in the Folio Society edition of Anthony Burgesses’ ‘A Clockwork Orange’ in 2014
The Tetley feast
No full textThe Tetley Feast was a community-engaged, participatory design project between academics, students and local community organisations, that occurred within a host centre, The Tetley, which had just opened as a new contemporary arts centre in Leeds, North England. It involved 70 undergraduate BA (hons.) Visual Communication students from the University working with a range of local community organisations which were economically and culturally deprived, as well as being, in the main, excluded from design practices and education. As part of the conference Cumulus Johannesburg, Design with the Other 90%, the paper is regional in focus but framed against the context of current global inequality. This project sought to promote engagement between design students and communities that would lead to sustainable long-term relationships. It was important that these were dialogic and people created learning opportunities together, that is students learned from the communities and vice versa. Participating organisations included: schools and alternative education providers; an Asian health centre; a youth club; a group of adults with learning and physical disabilities; a single dads’ group and a mental health organisation working with women from the Polish and Bangladeshi communities. This paper reports on a case study that encompasses methods of design as social practice and participatory action research. The project culminated in a temporary exhibition at The Tetley with a range of work made by students with different levels of collaboration with community participants. These included films, photography, graphic design, craft, installations, outcomes of workshops run by students and interactive workshops. Over 200 participants from the community groups attended and took part in the event, inspired by the Hunslet Feast, a local community festival that took place over 100 years ago
Pop-up republics
No full textThe output is a curated exhibition, Pop-up Republics, co-curated by Paul Booth, Beccy Kennedy, Ming Turner and Toby Heys who formed a curator collective, ‘Dark Border Developments’. Research process: Working with a mixture of local and international artists, the researchers explored the concept of ‘micronation’ whilst contesting notions of nationhood by proposing four separate and movable micronations in shipping containers with carefully constructed interiors, all of which double up as newly commissioned art installations. The exhibition was situated at the Imperial War Museum on the docks of the Salford Quays, a site that brought influence from other cultures. It was made accessible to the audience via boat tours between Manchester and Salford. Research insights: The research contributed to explorations of what is possible when organising an international exhibition, both in terms of how the work was housed and in how the particular installation site can influence the theme of borders, boundaries and internationalisation through the exhibition space. Dissemination: The research was disseminated via exhibition at the Imperial War Museum North, as part of the Manchester Asia Triennial 2014, 27 September to 23 November 2014
‘Out of the mouths of babes’: mature students and horizontal discourse in the art and design studio
No full textThis paper is based on the narratives of students coming to art and design Higher Education (HE) with an Access to HE diploma. These students are sometime referred to as ‘second chance’ , ‘mature’ or ‘non-traditional’. The two case studies under discussion are drawn from those collected from a longitudinal study (2011-2014) that sought to investigate the experiences of ‘non-traditional students’ in art and design HE. The participants are studying on a range of creative degree programmes in various institutional contexts. Narrative inquiry is used to show the ways in which students’ stories run contrary to some metanarratives about class and education. Bernstein’s theories about horizontal and vertical discourse within educational settings are used to analyse the students’ accounts about their encounters in the art and design studio. It is argued that age can be used by educational institutions as a mythological discourse that constructs a particular horizontal solidarity within a particular cohort which in turn can marginalise some mature students. For example, within art and design ‘youth and creativity’ are closely aligned and this can be transmitted through the various pedagogic devises and practices employed by an institution. The signature pedagogies also associated with the subject area can position ‘non-traditional’ students as the ‘pedagogised other’
Fear of the surplus
No full textFear of the Surplus was the inaugural exhibition of the Tetley Art Centre in Leeds. The solo exhibition, was a collaboration between myself and artist Emma Rushton.
Responding to the context of the Tetley, which until its transformation into an art space, had been a place of work (Tetley Brewery), and current government rhetoric surrounding work and welfare the exhibition established a discursive space where conflicting ideas about labour, work systems and possible alternatives could be debated. For the exhibition, a large a hand crafted and painted ‘stage’ structure was installed in the main space. Over six weeks the stage was the setting for a programme of talks by a group of invited speakers – authors, activists, academics, theorists, organisers and campaigners, to unpick ideas of work – what it is, why and how we do it, its values and rewards and the conflicting ideas and issues which surround it. Fear of the Surplus was also understood as referring to capitals inability to address the redistribution of wealth and resources generated by all, through work, in its many different forms, waged and unwaged. The opening night of the project featured a continuous reading of Ivor Southwood’s book Non-Stop Inertia from the ‘stage’ by five actors. The following six weeks of the exhibition included talks by; philosopher Nina Power - When we say “work”, what do we mean? When we say “worker”, who do we not mean?; economist Guy Standing - The Precariat: The New Dangerous Class; academic Diane Morgan - Crisis? What “crisis”? “Living labour” NOW! ; author Lynsey Hanley – On self-improvement; sociologist Zygmunt Bauman – Dread of scarcity, Fears of abundance; anarchist Dónal O’Driscoll – When the machine took over, Ellul, Marcuse and the reshaping of work; Radical Routes organiser Cath Muller - Let’s build a co-operative society; union activist Andy Pearson – Unite the union; cultural theorist Mark Fisher – De-Privatising Stress. A new site-specific wall text Scapegoat was commissioned for the project and remained in the gallery for 6 months. The project culminated with a presentation by five actors of The Making of the English Working Class - update - readings from the classic text along with selected quotes and chapters written by speakers contributing to Fear of the Surplus
Classification
No full textResearch process: Classification considered the relationship between class and the visual arts, exploring the relevance of class for different generations of artists & thinkers & an exploration of Class in the contemporary situation. The curated exhibition and symposium, shared the title Classification. The Symposium and exhibition, opened a dialogue to discuss ‘the importance for artists and thinkers, to talk, think, write about and make art works around the sometimes fraught, and often complex notion of class?’
Research Insights: Classification offered the opportunity of considering artworks as material critical practices and to consider class representations and creative endeavours that are outside of, or marginalized from, established theoretical conventions and definitions.
Dissemination: Classification hosted two dissemination events, a symposium and artists ‘in conversation’. They were held on Monday 15 July from 10:30 – 3:30
The exhibition, Classification was open to the public from 12 July until 17 August 2013
There is nothing like a shave to make a pig feel like a man again
No full textThis solo exhibition concentrated on three large drawings that were designed to be read as part of a series, all of which were created as allegorical reflections on contemporary society. The drawings were the result of several years of walking and drawing and talking with people that live in the Chapeltown area of Leeds. By hanging three large narrative drawings in close proximity, Barker was able to assess the audience reaction to a narrative that flowed between drawings. The effect was similar to that of a series of comic book frames, people reading the drawings from left to right and the ‘gutter’ between frames acting as a time gap between images, this allowing for narratives to move both forwards and backwards in time between drawings. The associated catalogue kindly produced by the curator, Terry Hammill, gave me an opportunity to add a textual narrative alongside details from the drawings that he had himself selected and photographed. This was an opportunity that opened out a much deeper self-awareness and understanding of the personal histories behind drawings that had been predicated by listening to the stories of other people
Mind the gap: an evaluation of joint development practice between further and higher education tutors within English design education
No full textAbstract: An English art and design college was the setting for this project which aimed to improve the transition of Access students into design Higher Education (HE). The Access course is made up of non-traditional, mature students who may have no previous formal qualifications. They come from diverse backgrounds, ethnicities and nationalities; often overcoming barriers to education in order to fulfil their ambitions to study on a design degree. Previous research had discovered that Access students were susceptible to dropping out during the first year of their degrees. In order to improve the critical thinking and resilience of Access students staff from both sectors worked together to develop the pedagogy of studio critiques. This project was based on two theoretical principles. The first was assessment for learning where formative assessment can be a very effective teaching strategy. The second was joint practice development (JPD) which is an approach to course improvement through cross-sector collaborative activities. The research used a case study methodology to identify and evaluate JPD activities across the two sectors that were both effective and sustainable. This project is situated within the changing context of Further Education (FE} where technical-managerial models potentially conflict with democratic and professional values
Wild oats group exhibition
No full textWild Oats brings together a group of artists who use food and the rituals of eating to comment on contemporary life, gender stereotypes and commodity culture. (curated by Dawn Woolley). Miina Hujala’s film Illallinen (The Dinner) explores the complex identification and idealization processes that take place during courtship. In the film the couple create an ideal, romantic occasion but they construct images of themselves that they believe the other wants to see – communicating a wish to be the object of the other’s desire. In Prise d’assault (Under Assault) Noemi McComber addresses issues of overconsumption, and the handling of waste while depicting unrestrained violence. The performance becomes a “…humiliating trial of judgment and soft stoning by way of food…[a] painful tar and feather-like ordeal, as if under siege by an angry mob of tots laying waste to an over-stocked kitchen.” Stephanie Bertrand (Author and Curator). Dawn Woolley’s photographs and sculptures reflect contemporary attitudes to consumerism and the commodification of human relationships through the consumption of food. The resulting still life’s comment on the gender distinctions upheld through commodity culture and the rituals of food consumption. Surreal Summer Fete is a performance by Ellen Sampson and Dawn Woolley in which they serve a variety of small edible sculptures to the (mostly unwilling) public during the exhibition opening. With shapes, and textures derived from ideas of romance, desire and gender norms, the objects will offer a surreal take on everyday finger foods. A food sculpture workshop took place within the exhibition as part of Diffusion International Photography Festival and Made in Roath Community Art Festival
Readings in a rumour of the end of art
No full textThis book is a transcript of a roundtable discussion that took place at Leeds College of Art (now Leeds Arts University) in the summer of 2011. The remit was to respond to two texts that the group had been reading: Jacques Derrida’s Specters of Marx and Eva Geulen’s The End of Art: Readings in a Rumour After Hegel. Common to both texts was the topic of ‘endism’. As Art and Design educationalists, the reading group were reflecting on this as an issue not only for the production and reception of art, but also for its consequences for pedagogy. The Reading groups initially consisted of the following members of staff: Garry Barker, Annette Beaumont, James Beighton, Andrew Broadey, Susan Carter, Joanna Geldard, Andrew Joskowski, Dorothy King, Richard Miles, Madeleine Newman, Tom Palin, Debra Roberts, Marcel Swiboda and Lee Wainright. The final discussion roundtable was led by Michael Belshaw and included Garry Barker, Joanna Geldard, Richard Miles, and Tom Palin. The book contains extended references, biographies of the five authors and an introduction by Michael Belshaw