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Research on John Brett, undertaken by Christiana Payne, was disseminated through an exhibition, held at the Barber Institute of Fine Arts, University of Birmingham, the Fine Art Society, London and the Fitzwilliam Museum, Cambridge, in the summer and autumn of 2010. In total, c.28,000 visitors saw the exhibition. The Birmingham showing was accompanied by a study day and gallery talks, in which Christiana Payne participated. The exhibition had a qualitative impact on visitors, who found Brett's work uplifting and inspiring, and an economic impact on the local and national economy by attracting visitors to the three venues. The reappraisal of Brett has had an impact on museum policies and practices.
The impact that will be described within the case study focuses on how the research — which centered upon the multifarious applications, conceptualisations and roles drawing has today within various professions and disciplines - was beneficial to a group of educators with respect to their planning and implementation of an art and design based curriculum. To this end the case study will detail how the research undertaken around drawing by Staff and Cureton directly affected how both drawing was conceived by these teachers and how this informed the development of their curricula.
Research by Daniels for Picturing Britain, an exhibition about the life and works of the pre-eminent Nottingham-born landscape artist Paul Sandby (1731-1809), shaped the policy and practice of Nottingham Castle Museum and Art Gallery (NCMAG). While NCMAG previously imported exhibitions of international standing produced elsewhere, Picturing Britain reversed this relationship. This exhibition, conceived in Nottingham and based partly on works held at NCMAG, was exported to two internationally important venues, strengthening the city's national and international cultural reputation. Inspired by the success of Picturing Britain, NCMAG re-assessed its permanent collection with a view to securing Arts Council recognition and is currently investigating other `home-grown' touring exhibitions.
Through a partnership forged with the Fruitmarket Gallery in Edinburgh, Briony Fer developed international exhibitions building on research into the materials and processes underlying art's making and thinking. This reached both general and specialist publics, including artists and conservators in the UK and beyond. The exhibition Eva Hesse: Studiowork from 2009 travelled across Europe and North America over two years, attracting over 200,000 visitors. It provided cultural enrichment and raised public awareness about how art is made; deepened specialist knowledge of fragile materials crucial to the conservation of modern sculpture; brought previously unknown artworks into the public domain and contributed to the tourist and heritage industry as part of the Edinburgh Art Festival.
This case study focuses on an exhibition of a collection of books owned or written by the great sixteenth-century writer Michel de Montaigne. These books were donated to the Cambridge University Library by the family of Gilbert de Botton. Philip Ford was involved in negotiating with the family for this donation, and subsequently wrote a monograph on the collection to accompany the exhibition. During the writing of this monograph, he worked closely with the exhibition's curator, Jill Whitelock (a senior librarian at Cambridge University Library), to determine the form and content of the exhibition. The monograph and exhibition attracted considerable attention and was followed up by public lectures by Philip Ford. The principal benefit from this project has been the enhanced conservation and presentation of the cultural heritage of sixteenth-century France.
The impact comes from Ekserdjian's authentication and attribution of Renaissance paintings and the curatorship of international exhibitions, both of which have had substantial financial impact on institutions and individuals involved in the art market, in particular the auction house sector, galleries and museums. This also includes cultural impacts on the art-loving public by introducing them to newly-discovered and attributed artworks which might previously have never been exhibited publicly and by offering innovative ways of exhibiting and understanding masterpieces gathered from around the globe.
The primary impact of the research in the exhibition and the catalogue entitled The Bruce Lacey Experience is the Tate's commitment to acquiring additional pieces of Lacey's work (the gallery presently owns two works) and to purchase Lacey's archive. The exhibition that David Mellor curated at the Camden Arts Centre (CAC) jointly with Jeremy Deller also directly affected contemporary art curators and the public by influencing outputs on Lacey in film: both the film of the artist made by Deller, and Lacey's own films, released as a DVD set through the British Film Institute (BFI) in conjunction with the exhibition.
Turner and the Masters, organised in collaboration with Tate Britain, shown at Tate, the Grand Palais, Paris, and the Museo Nacional del Prado, Madrid, in 2009-10, had extensive impact, as measured by audience figures, catalogue sales, press coverage, online survey participation, and attendance at public events and education programmes. Exhibition visitors, schoolchildren on tours, readers and viewers of media items gained insight into Turner's achievements; mechanisms of cultural transmission and the European context of British art. Immediate impact on curatorial and scholarly engagement with Turner shows in a `spin-off' exhibition (Turner in the Light of Claude) at the National Gallery, and a new book on Turner and history.
The two-year ROTOЯ programme of exhibitions and events has been a cornerstone of the University of Huddersfield's efforts to introduce new audiences to contemporary art and design, as encouraged by successive Arts Council policies for enhancing public engagement. As well as raising awareness, inspiring curiosity and providing cultural enrichment, it has initiated changes to local authority policies on providing cost-effective, high-quality cultural services and has functioned as a vehicle for research into how the impact of such programmes can be captured. As such, it has served as a model partnership for local authority and university sectors in offering cultural leadership, generating and measuring engagement and delivering public services.
Research by Oxford scholars on ancient Macedon has played a significant role in promoting public knowledge of this important kingdom [text removed for publication]. The beneficiaries of this research on Macedonia are [text removed for publication] members of the public, both in the UK and abroad, who have had their historical knowledge and understanding enriched through contact with research on Macedonia in written form and at museums [text removed for publication]. This impact has been achieved in a number of ways through a major museum exhibition, through public lectures and popular histories, and through accessible scholarly publications. This research has also had a significant economic impact.