Log in
The impact was based on research on William Turner by Hamilton; its aim was to contribute to the cultural enrichment of audiences in Britain and Europe and to promote wider public understanding and knowledge of the work of Turner. It culminated in the Exhibition, Turner and Italy, staged at the Palazzo del Diamante, Ferrara, Italy (16 November 2008 to 22 February 2009); the National Gallery of Scotland, Edinburgh (27 March to 7 June 2009); the Museum of Fine Arts, Budapest (15 July to 25 October 2009). Through the significant numbers of paying visitors and purchase of exhibition catalogues the research also contributed to the local economy. It was the first exhibition on Turner in Hungary, ensuring creation of public awareness and knowledge of his work by a new international audience.
Professor David Hill has published extensively on Turner's work, highlighting Yorkshire as a landscape of international significance. His fieldwork has tracked the artist's travels through the county, locating, examining and photographing his viewpoints as they survive today.
Since 2010 a tourist promotion entitled `Discover Turner's Yorkshire' has given this work much wider public impact. Both published and digital materials have raised public awareness of the significance of the county to the artist; this has increased tourism and brought further economic and social benefits.
In summer 2007 the vice-director of the Museo Nacional del Prado asked Professor Joannides to co-curate The Late Raphael, a major international loan exhibition held at the Prado and the Musée du Louvre in 2012-13. Extensive research by Joannides and his co-curator, Professor Tom Henry (University of Kent), from 2008 onwards shaped the content and form of the exhibition, which was supported by a scholarly but accessibly-written catalogue setting-out their findings. The exhibition brought significant financial benefits for both museums through increased visitor numbers and sales of the catalogue — now reprinted by Thames and Hudson for commercial distribution. The exhibition has raised awareness of the work that Raphael and his two closest pupils produced between 1513 and 1524 to the exhibition's visitors, to scholars and to the public at large through extensive international media coverage.
Professor Stephen Farthing's research proposes a new framework for the structured study of the process and functions of drawing beyond the specialist art school curriculum. His work since 2004, in collaboration with Tate Britain and the Ashmolean Museum, has tested the possibilities of utilising museum collections as a resource for the teaching of drawing and has directly impacted on the development of a new drawing curriculum for schools and further education institutions and on the extension of new audiences for Ruskin's teaching collection.
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.
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.
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.
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.
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.
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.