323,149 research outputs found
Home of Charles S. Swindells, 625 Woodlawn, undated.
No full textAn image of the home of Charles S. Swindells.Title from finding aid. Recto: [typewritten on label affixed to negative] No. 210. Home of Chas. S. Swindells, 625 Woodlawn Ave
ROTOЯ Review
No full textThe ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design.
Why ROTOЯ , Why Now?
As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond.
A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways
Writing Encounters: ‘Institute of Beasts’ (2008)
No full textIn 1998 Steve Dutton and Steve Swindells formed the artist collaboration Dutton and Swindells. In 2008 they completed a three-month artist residency programme at Ssamzie Space, Seoul, South Korea. During the residency the artists founded the Institute of Beasts by introducing live animals into the studio as members of a faculty; to suggest new readings of the work but also as a strategy to potentially generate art as a form of encounter in which different compulsions or pathologies pull in various ways but equally live together in a frame or scenario in much the same way as practice can exist as performance, text and as object. An interesting aspect of having an animal(s) in the studio is the unpredictable nature of what happens to the work when it becomes a perch, a hutch or a burrow and what happens to the artist's practice when they share a space with other animal(s). This article and accompanying images form a written/visual extension to a presentation they delivered at Writing Encounters, York St John University, 1113 September 2008
Misleading epiphenomena
No full textA collaboration between the artists Dutton & Swindells and the architectural theorist Barbara Penner
Brown-field site
No full textFocusing upon an actual brown-field site in Sheffield, Dutton and Swindells present a text-based work based upon the idea of a brown field site as a potential site for cultural regeneration and imagination. A brown-field site anticipates the process of a city’s natural entropy but it also suggests an opportunity for regeneration and reconstruction
Dutton and Swindells: Institute of Beasts
No full textArtists' book to accompany the two-year 'Institute of Beasts' project
Apocotropes, Dutton and Peacock, The Dog and Duck, Dutton and Swindells
No full textThe article focuses on the relationship between the documentation of an art work and the art work itself by citing two projects by the artists Steve Dutton and Steve Swindells. The article suggests that the artists were attempting to blur
the relationships between the work of art and its documentation by creating both simultaneously
The Stag and Hound
No full textThe second phase of Dutton and Swindells collaborative The Institute of Beasts project consisted of an installation/exhibition and a book-work.
The large (7 adjoining gallery spaces) installation/exhibition at Project Space Leeds was open to the public for 12 weeks (from 20 January, 2011) and included a six-week open residency period during which time the artists were present.
The exhibition continued to explore themes of ‘animality’ – previously developed in The Institute of Beasts – but this time in a more expansive physical environment using large-scale neon and sound. The Stag and Hound focused more on disturbing taxonomies by providing an elaborate ‘forest’ of signs, approaches, methods and materials, deliberately tripping up linear narratives and interpretations
Variations in dental arch morphology are outcomes of the complex adaptive system associated with the developmental variation of hypodontia
No full textDevelopment of the human facial structures including the jaws and dentition occurs in a process that has the characteristics of a complex adaptive system (CAS) influenced by epigenetic, genetic and environmental factors. Earlier studies have suggested dental arch development to be reduced in size in subjects with hypodontia when compared with controls. Hypodontia is a variation of development and presents with a reduced number of teeth together with several other phenotypic changes. This study uses enhanced 3D imaging techniques to increase the accuracy of the measurements of dental arches. The sample consists of orthodontic patients, 60 with hypodontia (thirty males and thirty females), and 60 controls matched for age, gender and ethnicity. One operator using an Amann Girrbach Ceramill Map400 3D scanner recorded the 3D images from dental models. The 3D images were then viewed on MeshLab and the accuracy of the measurements were determined through repeat measurement of the same images; this was undertaken with intra- and inter-operator reproducibility. Ten repeat measurements were taken on 10 different models. Validation of the new system was undertaken by repeating the measurements using the standard 2D caliper technique. Arch dimension measurements were determined from distance between the left-hand side first molar to the right-hand side first molar. Similar measurements were also made for the inter-canine width. The results for average intra-operator measurements were 0.33 mm for the maxillary arch and 0.40 mm for the mandibular arch. The difference in average inter-operator reproducibility was also measured for inter-molar arch dimensions at 0.31 and 0.23 mm for maxillary and mandibular arches, respectively. This novel method provides an increased range of measurement of similar accuracy to standard techniques. This study will proceed to establish the variations on the 3D images between the hypodontia subjects and the control group
Writing encounters: Institute of Beasts (2008)
No full textIn 1998 Steve Dutton and Steve Swindells formed the artist collaboration Dutton and Swindells. In 2008 they completed a three-month artist residency programme at Ssamzie Space, Seoul, South Korea. During the residency the artists founded the Institute of Beasts by introducing live animals into the studio as members of a faculty; to suggest new readings of the work but also as a strategy to potentially generate art as a form of encounter in which different compulsions or pathologies pull in various ways but equally live together in a frame or scenario in much the same way as practice can exist as performance, text and as object. An interesting aspect of having an animal(s) in the studio is the unpredictable nature of what happens to the work when it becomes a perch, a hutch or a burrow and what happens to the artist's practice when they share a space with other animal(s). This article and accompanying images form a written/visual extension to a presentation they delivered at Writing Encounters, York St John University, 1113 September 2008.</p
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