Summary of the impact

The findings of empirical research conducted by Professor Jim Barry and Dr Trudie Honour of UEL were shared at two focused capacity building sessions held in 2008 and 2009 for women leaders in middle and senior positions of responsibility and decision-making in the public and third sectors of a number of developing countries. Workshops were attended by women from Albania, Bahrain, Brazil, Burma, Cambodia, Cameroon, Ecuador, Egypt, Ethiopia, Jordan, Kenya, Malaysia, Mexico, Oman, Pakistan, Philippines, Tunisia, Turkey, and Uzbekistan. Participants considered the relevance and application of the research findings for their own countries, and worked together and with the researchers to formulate potential capacity development implementation strategies for women in positions of responsibility in those countries.

Summary of the impact

Work undertaken by the Centre for Transnational Art, Identity and Nation (TrAIN) at the University of the Arts London (UAL) focuses on the role of identity and nation in the production and consumption of artwork and artefacts. This has resulted in an increased awareness and critical understanding of transnational art and design, to the benefit of the Museums and Galleries sector, arts organisations, and the artistic community.

Summary of the impact

The impact was on practitioners in art and education who used research on sexuate difference in their practices. Sexuate differences are bodily, social and cultural differences around gender that are not strictly based on sexual difference; for instance, they can be cultural differences around pregnancy. The research raised awareness of the significance of gender in contemporary cultural production and the development of educational practices. Three conferences and a network website generated dialogue, new works and novel ways of thinking about gender across artistic and educational communities. Public space for art works was made available through a website and public events.

Summary of the impact

`The Sublime Object' was a major AHRC-funded project of the Tate Britain, which used a range of open access media, free public exhibitions and events to promote new understanding of the ways in which perceptions of the Sublime in the external landscape are shaped by cultural experiences, and which was substantially shaped by Professor Philip Shaw's work.

Shaw worked with Tate Education/Learning to develop initiatives that would engage Tate's gallery and online audiences closely in an exploration of the concept of the Sublime, a theoretical concept encompassing ideas of the great, the awe-inspiring, and the overpowering. Through the collaboration of the public, artists, and academics, this work articulates ways in which the Sublime is experienced today. Shaw's research conceptually underpinned the project, helping to shape the ideas of artists, Tate visitors (in person and online), and curators. His thinking for pieces commissioned by the project was, in turn, shaped by this dialogue, demonstrating the enrichment of research via its initial impact.

Summary of the impact

Using a ground-breaking database of recovered narratives of Latin American women during the Wars of Independence,

• new histories have been created and shared with audiences in Buenos Aires, London and Nottingham through exhibitions, workshops, guided city tours, theatre productions and translation programmes leading to new public knowledge and raised awareness;
• drama and photography workshops have enabled a community of young Latin American migrant women in London to understand their collective heritage and cultural identity more fully, and through this understanding, to develop personal confidence and pride;
• employees of Southwark Council have changed how they work with their growing Latin American community after participating in a cultural and language exchange series contributing to improved community cohesion.

Summary of the impact

York's British Art Research School, judged `world-leading' in RAE 2008, aims to change the way key cultural institutions represent British art. To advance this aim we have fostered partnerships with museums and galleries at local, national, and international levels. The partnerships have influenced curatorial practices through:

• co-curatorship of exhibitions and displays
• staff exchanges, which provide continuing professional development
• generation of funding for partner organisations
• co-production of digital resources

These initiatives have helped partners to display and promote a significantly wider range of British art and to generate new kinds of interpretation for larger and more diverse publics.

Summary of the impact

Clarissa Campbell Orr has contributed to broader cultural enrichment through her participation in three exhibitions and their associated events. The exhibitions and venues are:

• on Mary Delany at the Yale Centre for British Art (YCBA), New Haven, USA and the John Soane Museum, London;
• on Johan Zoffany at the YCBA and the Royal Academy;
• on Thomas Lawrence at the London, National Portrait Gallery (NPG).

These are significant venues with an international clientele, the exhibitions last on average for 12 weeks, and are reviewed both in the art historical press and mainstream newspapers and magazines in the UK and USA.

Summary of the impact

The case study discusses the impact of Dr Patricia Allmer's major exhibition and catalogue project Angels of Anarchy: Women Artists and Surrealism held at Manchester Art Gallery between September 2009 and January 2010. The exhibition had a significant social, cultural and economic impact attracting over 9,600 visitors and winning awards for being Manchester's "tourism experience of the year" (described as "one of the most successful cultural tourist campaigns that Manchester has ever run" by Renaissance Northwest). A full programme of events ran alongside the exhibition including schools' workshops, short courses, cinema screenings and the development of a significant online resource all of which has contributed to a re-examination of the place of women artists in the Surrealist canon.

Summary of the impact

The Leon Golub retrospective at Madrid's Reina Sofia Museum introduced Golub's politically engaged work to a city with a radical political history. Curated by Jon Bird, leading authority on Golub, it examined how Golub's depictions of political and military power impact upon individual and collective social bodies. It also related Golub's work to paintings by Goya and Picasso. Extensive public/media response, particularly as it spread through the Spanish-speaking world, confirmed the achievement and topicality of Golub's practice and the significance of the retrospective. Consideration of the role of painting as a mode of political commentary in itself, and as a catalyst for broader discussion of the visual representation of dictatorships and state violence, was found amongst curators, critics, and the general public. Bird's curatorial approach was informed by Middlesex University (MU)'s critical legacy of visual cultural studies, emphasizing works of art as social, material and expressive cultural objects.

Summary of the impact

Research at the University of Bristol on the international contexts of British art has made a distinctive contribution to a renaissance of British art studies that began in the late 1980s. Over the past five years, scholars at Bristol have worked with museums in London, the regions and overseas to engage the widest possible audience in fresh thinking about British art. Exhibitions and catalogue essays informed by their research have raised awareness of individual artists and changed public and critical perceptions of British art as a whole. They have also brought many benefits to the museum partners, attracting visitors, generating income and enhancing the museums' understanding of their own collections. Some exhibitions have inspired additional collaborations which have fed back into research and further extended audiences for British art.