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Writing Black Beauty: Anna Sewell and the story of animal rights
No full textBlack Beauty is a novel that changed our world. Intended to 'induce kindness' in a Victorian audience who relied on horses for transport, travel and power, it remains a dearly loved children's classic. Using newly discovered archive material, Celia Brayfield shows how Anna Sewell developed the extraordinary resilience to rouse the conscience of Victorian Britain and make her mark upon the world
Making immersive technology accessible for art and design teaching
Get PDF‘ACCELERATE: Accessible Immersive Learning for Art and Design’ bought together art and design lecturers, educational researchers, and learning technologists from the UK, Ireland, Poland, and Ukraine to reflect on the impact of COVID-19 on higher education teaching to explore new possibilities for pedagogy and digital innovation.
The project focused on the potential transformative role of immersive technologies (augmented, virtual, and extended reality) in the teaching of art and design while recognising that many learners face significant challenges in engaging effectively with XR technologies: disabilities; complex personal circumstances; low quality devices; poor and unreliable internet access.
This 2-year Erasmus + ‘Strategic Partnership’ (2021-23) had a simple but ambitious aim: to improve the teaching of art and design at higher education in a post-pandemic Europe through the development of innovative methodologies, tools, platforms, and resources for accessible immersive learning.
Drawing on the spirit of practice-led creative innovation, ACCELERATE created a new prototype platform for accessible immersive teaching in art and design that aimed to democratise XR technology. The collaborative development of this immersive ecosystem—open-source, scalable, sustainable—as a gateway for art and design lecturers and students with little or no previous experience of XR technologies was informed by a considered evaluation of the impact of COVID-19 on art and design teaching at the partner universities, the co-drafting of a Methodological guide, and a standalone online training course for lecturers populated with teaching materials, including co-created case studies that draw on the shared expertise and perspectives of all the project partners.
By engaging with the layered complexities of XR accessibility and immersive learning, ACCELERATE has the capacity to be genuinely pioneering in its pedagogical and technological outcomes and find new ways of engaging with art and design students from disadvantaged and underrepresented groups
Literature Across Borders: the pilot year. Part 1: the staff
Get PDFThis piece outlines the conceptualisation, planning, delivery and staff reflections on the
culmination of the pilot year of the ‘Literature across Borders’ project, a collaborative
endeavour between Ashoka University (India) and Bath Spa University (UK), facilitated
by the Green Literature Festival (India). This piece accompanies a partner article (see
this issue) exploring the reflections of eight of the pilot year student participants
waiting for someone to do the thing you need them to do
Get PDFwaiting for someone to do the thing you need them to do explores situations where a task cannot be completed because it relies on someone else to do something first. It considers the way the efficiency of task dependence emerges, and how other people’s personal attitude to productivity impacts on our own actions
Dix and the present [group exhibition]
No full textDeichtorhallen Hamburg are preparing a large-scale exhibition on Otto Dix and his continuing influence on art today. Presented in the Deichtorhallen's Hall for Contemporary Art, the show is scheduled to run from September 30, 2023 to February 25, 2024. For the first time, Dix's oeuvre from the Nazi era will be examined in the context of a comprehensive exhibition. Accordingly, the artistic impact of political censorship, conformity and political iconography with reference to contemporary art will take centre stage.
Starting out from his radical and provocative - and to this day popular - paintings of the 1920s, Otto Dix (1891-1969) went on to create an ostensibly apolitical body of work after 1933, whose visual language was far less aggressively critical of society. During the Nazi era, his previously striking depictions of German society morphed into partly subversive, partly subtle forms of contemporary social critique.
Images of war and socio-critical milieu studies gave way mainly to landscapes, commissioned portraits and, from 1937 on, Christian allegorical subjects. To date, the work Otto Dix created during the Nazi era has taken a backseat in exhibitions and research – a lack of attention the exhibition DIX AND THE PRESENT aims to redress.
To appreciate Dix's artistic genres of landscape, portraits and his Christian subjects in a contemporary political context, the exhibition looks at the painter, his work and artistic career against the backdrop of art politics during the Weimar Republic, National Socialism and the immediate post-war period.
The artistic reception of Dix in terms of subject matter, political iconography, style as well as technical and genre-specific issues is a second focus of DIX AND THE PRESENT. The exhibition reveals the shifting cultural and social parameters in the reception of Dix's oeuvre, while at the same time showing how his work continues to hold great fascination for about fifty of the world's most renowned artists of our day - as challenge or stimulus, by means of appropriation and reinterpretation. Yael Bartana, Monica Bonvicini, Marc Brandenburg, John Currin, Alice Neel, Nicolas Party, Cindy Sherman, Katharina Sieverding and Kara Walker are among the artists included.
The exhibition is curated by Dr. lna Jessen. The project benefits from her in-depth knowledge on the subject of Otto Dix during the Nazi era and the concept for the exhibition is based on her research and publication A GERMAN PAINTER. OTTO DIX AND NATIONAL SOCIALISM (De Gruyter, 2022). lt examines artistic upheavals rooted in prevailing public policy and socio-political developments.
Artists of the exhibition
Marina Abramović, Kader Attia, Ernie Barnes, Yael Bartana, Georg Baselitz, Monica Bonvicini, Marc Brandenburg, Thorsten Brinkmann, Glenn Brown, John Currin, Tacita Dean, Otto Dix, Martin Eder, Nicole Eisenman, Zeng Fanzhi, Lucien Freud, Falk Gernegroß, Adrien Ghenie, Nan Goldin, Simone Haack, Kati Heck, Almut Heise, Simin Jalilian, Anselm Kiefer, York der Knoefel, Friedrich Kunath, Stéphane Mandelbaum, Esko Mannikkö & Pekka Turunen, Paul McCarthy, Bod Mellor, Gianni Motti, Ron Mueck, Alice Neel, Meriele Neudecker, Catherine Opie, Nicolas Party, Grayson Perry, Juan Miguel Pozo, Paula Rego, Faith Ringgold, Julian Rosefeldt, Anne Laure Sacriste, Cindy Sherman, Katharina Sieverding, Zandile Tshabalala, Werner Tübke, Kara Walker, Martin Weinhold, Tsai Yi-Ting, Tobias Zielony, Miron Zownir
Using art-based group interventions to support refugees affected by sociocultural trauma
No full textRefugees from non-Western backgrounds often do not find mainstream therapeutic interventions effective not only for the potential cultural and language barriers but also because they are raised in cultures where group identity is more prevalent than individuality. In addition, much of the trauma that refugees experience is sociocultural, which means that it affects, not only individuals, but simultaneously ethnicities, and communities, and disrupts cultural practices and ways of living.
Interventions for refugees should therefore embed components to strengthen their cultural identity and integration. In this regard, evidence indicates that creative and culturally appropriate art-based interventions are effective for refugees as the creative process supports them to build bridges with their past and, with the help of the group, process sociocultural trauma from a safe distance.
The seminar focuses on the benefits of art-based group interventions, such as creative writing workshops, COURAGE, and the Tree of Life to support refugees’ mental health. It evaluates the use of techniques such as creative writing, collages, and drawings to help refugees to process traumatic episodes, and foster empowering alternative stories and hopes for the future. It discusses the power of storytelling to build connections for refugees in the therapeutic groups as well as with their cultural background, ancestors, and family heritage, and to shape their new identity and connections in the host country
Plant Communitas [curator]
No full textThe Plant Communitas exhibition features a community of artists from diverse practices and places. The artists work locally, nationally, and internationally and are united by their interests in human-plant relations