460 research outputs found
SIGHT (UN)SPECIFIC: Performance as research predicated upon deploying acts of visual negation
No full textThis paper promotes debate into varying aspects of practice that was produced as part of 'You Don’t Need Eyes To See, You Need Vision', a recent event which presented new work by artists Lee Campbell, Adrian Lee and Carali McCall. Using performance practice-as-research, the artists interrogated the following question: How can acts exploring visual negation be used to generate public pedagogy and what may it bring to the experience of removal of sight
Drawn Together: Collaborative Performance
No full textIn the collaborative work of Drawn Together, a group formed by the artists Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall, diverse practices are collectively materialised through performance drawing. Focusing on the notion of fragmentation has been instructive in identifying how the collaboration binds together a series of fragments and discontinuities that are enacted and reassembled in unpredictable and new ways
Sight (un)specific: performance as research predicated upon deploying acts of visual negation
No full textThis paper promotes debate into varying aspects of practice that was produced as part of You Don't Need Eyes To See, You Need Vision, a recent event which presented new work by artists Lee Campbell, Adrian Lee and Carali McCall. Using performance practice-as-research, the artists interrogated the following question: How can acts exploring visual negation be used to generate public pedagogy and what may it bring to the experience of removal of sight?</p
Sight (un)specific: performance as research predicated upon deploying acts of visual negation
No full textThis paper promotes debate into varying aspects of practice that was produced as part of You Don't Need Eyes To See, You Need Vision, a recent event which presented new work by artists Lee Campbell, Adrian Lee and Carali McCall. Using performance practice-as-research, the artists interrogated the following question: How can acts exploring visual negation be used to generate public pedagogy and what may it bring to the experience of removal of sight?</p
RUN! RUN! RUN! Biennale 2016
No full textThis was the second leg of an international, interdisciplinary festival that I founded, led/directed, curated and produced. Also known as the #r3fest, this was a hybrid programme examining running as an arts and humanities discourse, not just within sport science or as a fitness practice. This fills an existing gap within and beyond the academy. #r3fest 2016 featured 30 artists, academics and runners from 18 institutions and charities, from 21/11/2016 - 24/11/2016. We explored running as a metaphor to consider gender, ageing and borders. We sourced for and secured 3 venues: screening, seminar and performance at Leeds Arts University (LAU), UCL and National Indoor Athletics Centre in Cardiff. I designed mentor-learner couplings: my first-time co-curators (and #r3fest alumni) artists Dr Carali McCall (London-based) and Annie Grove-White (Cardiff-based) were paired with Latham in London, and a Senior Lecturer in theatre in Aberystwyth. We ran monthly 1-2-hour discussions. Feedback from Grove-White (retired Principal Lecturer, Director of Learning & Teaching, Cardiff School of Art & Design): ‘I enjoy the richness of sharing ideas and support’. Dr McCall (PhD in Fine Art, CSM) says the group taught her ‘commitment,discipline and working with others’. I was an invited speaker on BBC Radio 3’s Free Thinking. Thus far, RUN! RUN! RUN! has presented the drawings, installations, performances, papers, academic posters and films of 65 researchers, artists and runners from 40 institutions, across venues including Cardiff National Indoor Stadium and Paris School of Culture and Art. Through RUN! RUN! RUN!, which the Guardian urges other academics to 'take a leaf from' (2014), I am recognised as being 'absolutely central' in the field of 'Running Studies' (Whelan 2015)
Interview with Catherine McCall
No full textInterview with Dr. Catherine McCall, graduate of UNCW's MFA in Creative Writing program and author of Lifeguarding: A Memoir of Secrets, Swimming, and the South
I miss the land but does the land miss me?
No full text‘Humans are a product of the earth’s surface – dust of her dust. As the surface of the earth presents obstacles, so it offers channels for the easy movement of humanity.’
Geographer Ellen Semple
Art Seen is pleased to present the group exhibition 'I miss the land but does the land miss me?'
Participating artists: Panayiotis Doukanaris (CY), Carali McCall (CA), Henrietta Simson (UK), Amy Stephens (UK). By means of expanding painting and sculpture processes, the four artists in this exhibition explore the material spaces we inhabit;
Carali McCall uses the line as a drawing process to address time and energy executed through performance. By holding a piece of the physical landscape (a rock) she is interested in the act of endurance. In this exhibition, McCall and Stephens have collaborated with the indigenous landscape to shape a new performance on the opening evening with documentation and artworks that will remain in place for the duration of the show.
Panayiotis Doukanaris’ blank canvases embody the uncanniness of encountering an indeterminate landscape. In their transparent fragility, they paint the becoming of a place, the birth of the familiar and the emergence of a poetic encounter. The works offer a new approach to traditional methods of painting questioning the before and aftermath of a previous performance. The artist is also interested in the (re)configuration of collective and individual identities.
Henrietta Simson’s works disrupt the structures that have traditionally shaped how the landscape is viewed. This is achieved by stressing the material and the affective power of the image. The works on display play with illusion and embodied presence. They offer realist assumptions that draw out the connotations of care that accompany the categorising and collecting frameworks of the museum diorama.
Amy Stephens’ artwork is underpinned by geology and travel. The main focus of her practice is to re-appropriate and recycle objects from the immediate landscape. By elevating local artefacts, she offers an exchange of ideas and a new perspective about the everyday. All rocks and minerals come with their own story, but the abundance of any material can be a source of invisibility.
Tectonic plates are always on the move and therefore so is the process of building new territories and spaces in between. As a collective, the artists in this exhibition have worked alongside each other to bring an exhibition together that demonstrates a commitment to their chosen materials and to their relationship with time amongst the landscape
[Correspondence on the proposed study of communications systems within Oregon state agencies by Pacific Northwest Bell]
No full text[Letter to state agency heads by Governor McCall, October 23, 1974] -- [Letter to general manager of Pacific Northwest Bell by Governor McCall, October 21, 1974] -- [Letter to Governor McCall by the general manager of Pacific Northwest Bell, September 26, 1974]This archived document is maintained by the Oregon State Library as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Title supplied by catalogerPhotocopy of typescriptMode of access: Internet from the Oregon Government Publications Collection.Text in Englis
[Letter and enclosures to members of the Oregon Legislature on legislation proposed by the Governor's Select Committee on Conflict of Interest]
No full text[Letter from Governor McCall to the members of the Oregon Legislature] (Feburary 5, 1974) -- [Letter to Governor McCall from Paul E. Bragdon, Chairman of the Governor's Select Committee on Conflict of Interest] (January 28, 1974) -- [Proposed legislation on conflict of interest] -- Difference between Select Committee draft, Common Cause initiative and vetoed HB 2529This archived document is maintained by the Oregon State Library as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Title supplied by catalogerTypescript (photocopy)Mode of access: Internet from the Oregon Government Publications Collection.Text in Englis
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