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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.
Lost in Lace was an exhibition curated by Professor Lesley Millar MBE at the Birmingham Museum and Art Gallery (BMAG), between 29 Oct. 2011 and 19 Feb. 2012. The project was presented by BMAG and the Crafts Council (CC) as the inaugural exhibition of the CC biennial Fifty:Fifty partnership programme. An independently commissioned evaluation reports that significant economic impact, audience development and curatorial innovation resulted from this work. BMAG and the CC were the principal beneficiaries of this impact in that the exhibition and its associated programme of activities fulfilled their stated strategic aims and ambitions for the specific project and wider organisational goals.
Furtherfield has inspired and supported new forms of collaborative practice and expression at the intersection of arts and technology cultures to co-create critical, contemporary public platforms and contexts for arts in networked society.
Furtherfield's innovative programmes have advanced practices and theories of collaboration, remix, and openness; inspiring and informing thinking in the UK Arts sector and international digital arts culture. This work has worldwide cultural and social impact. It reaches and engages new audiences through public gallery programmes, online collections, websites, and other award-winning virtual platforms, acknowledged by artists, curators and critics for their contribution to emerging digital art contexts.
Research conducted by Phyllida Barlow at the Slade has had direct and indirect impacts on the production of new art, on art professionals and the public in their relationship to and understanding of contemporary sculpture, and on the promotion of public engagement with cultural heritage. This was achieved through a series of high-profile exhibitions building on her research at UCL, which demonstrated impact through their increasing profile and public interest, responses to her research questions in the popular and specialist press, and through the critical recognition and artistic responses her work received, including acquisitions by major national and international collections.
Bournemouth University (BU) research by White (BU 2003 to present) focuses on the relationship between art, technology and culture. Exhibitions, workshops and presentations across the UK, Europe and in the USA have provoked societal reflection on critical topics such as genetics and germ warfare, among other controversial ethical issues. The work examines how sites, technologies and events shape our ideas of culture, political and personal life, whilst exposing audiences to ordinarily inaccessible information. Beneficiaries include the arts organisation with whom White has collaborated, and their participants, but more widely, those benefiting from his contribution to socially engaged art. The work has also furthered art-science discourse, providing impetus and critical breadth to the development of art and science as a cultural sector in the UK.
Simon Read is Senior Lecturer in Fine Art and a practising artist specifically engaged in the investigation of interdisciplinary approaches to environmental change, notably estuarine and coastal processes. His research (from which impacts have arisen over two decades) began with a tidal protection installation, explored further through the value of drawing as a tool for imagining change between researchers and coastal communities. This then led to greater involvement with other researchers, public sector bodies and water engineering companies in coastal/estuarine management and mediation, and to further art and design commissions, which together have led to impact on policy and practice via specific engagement with professionals, catchment communities and policymakers.
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.
From 2004 to the present, Gemma Blackshaw (Reader in Art History at Plymouth, 2002-present) has worked on the relationship between mental illness, psychiatry, and the visual arts in Vienna 1900. Through exhibition, a non-specialist book, film, and associated social media platforms, this work has reached and responded to audiences outside academia, including mental health communities. It has generated new knowledge, interpretations and approaches to the history and study of mental illness. It has encouraged international public discourse on how society used to engage with the mentally ill, and how we continue to engage with this community 100 years on.
Research conducted by the UCL SCEMFA research group into materialising the digital has had many and varied impacts, including the creation of new forms of artistic expression, and the production of new cultural resources. The research has also had demonstrable impacts on cultural heritage, both through the acquisition of its outputs into important national collections and through contributions to policy relating to the preservation of digital artefacts. Wider societal and cultural contributions have been delivered through work in the public realm, and commercial benefits have accrued through collaboration with Liberty.
This project, Robots and Avatars (http://www.robotsandavatars.net) informs how young people will work, learn and play with new representational forms of themselves and others in virtual and physical dimensions in coming decades making an impact on participants, educators, employers and other artists. Funded by NESTA, the programme influences the way educators and employers engage with young people in workplaces that are likely to include increasing telepresence, collaborative work, flattened hierarchies and international mobility. Exhibitions around Europe showcase work by artists, scientists, designers and architects who explore the relationship between the body, technology and virtual spaces, while forums examine impact and ethics. The research is transmitted to students and young professionals through workshops and mentoring, while social networking provides platforms for international groups. The project is also concerned with special topics like women and technology, and alternative identities for cultural groups. Key beneficiaries include young students and professionals, scholars and members of the general public.