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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.
Through the public exhibition of his own video practice and his dialogic approach to the presentation of other artists' works Richard Grayson's research projects as an artist-curator have impacted significantly on cultural life and public discourse around contemporary visual arts in the UK and internationally. Specifically his research has:
a) provided opportunities for audiences to experience new artworks and exhibitions which question conventional social narratives and world views;
b) through exhibitions, critical writing and gallery discussions, contributed to the development of public understanding of contemporary visual art.
This case study focuses particularly on the positive critical reception and longer-term impacts generated by Grayson's video work, The Golden Space City of God (2009) and two recent curatorial projects, Polytechnic (2011) and Revolver (2012).
Afterall is a research and publishing organisation founded in 1998 by Research Fellow Charles Esche and Professor Mark Lewis at Central Saint Martins, University of the Arts London (UAL). Afterall focuses on contemporary art, and its relationship to wider theoretical, social and political fields. Researchers associated to Afterall undertake and commission research, which is disseminated to an international audience through publications and events. Afterall impacts on the cultural sector and an extended audience by providing a platform for critical and creative responses to art, curatorial and cultural practice and by shaping discourse in this area. The significance and wide reach of this impact is demonstrated through partnerships and high-profile cultural events, publication reach, and support from the cultural community.
Research carried out at the University of Southampton into the social and intellectual value of conceptual art has been the basis of creative education and personal development programmes designed for school children, teachers, young offenders and the general public. Through public engagement activities run through the University's John Hansard Gallery, public knowledge and understanding of conceptual art have been deepened. Research has had a significant impact on 93 young offenders whose participation in arts-based programmes has resulted in the attainment of educational qualifications, enhanced employment prospects and a drop in re-offending. New programmes, co-developed with Southampton Youth Offending Service, have influenced public policy at local and national government levels, with impact reach evidenced when they were recognised by the Ministry of Justice as a model for best practice.
This case study demonstrates the impact of the Cass' research that has promoted and supported the now pivotal role of Installation art and Artists' Writing on the wider field of artistic and curatorial practice over the last decade and more specifically since 2008.
The body of research based on de Oliveira/Oxley's activities as curators and writers has been instrumental in the development of emerging forms of practice and critical discourse. Installation art highlighted significant changes in the understanding of the idea of the `medium', the institution and the relationship between artists, curators and audiences. This research is documented on their website www.writinginstallation.org.
The Unit's research is at the centre of changing approaches to the relationship between contemporary art and religious institutions by helping a variety of faith communities to reflect on their practices and by influencing public attitudes. The work focuses on 3 areas: the relationship between nature and spirituality; the spiritual well-being of individuals; the role of performance and temporary works of art to increase understanding of religious communities and sacred spaces. Our findings have been used in policy documents published by the Church of England on commissioning art in churches, in the National Conference of the Pagan Federation, the Swedenborg Society and by the Roman Catholic Church in Poland. These impacts are particularly relevant in the context of a new UK legal framework placing religious belief among the protected characteristics of Equality and Diversity.
The `Northern Spirit` research project entailed the co-production of a new gallery about the visual culture, histories and identities of North-East England at the Laing Art Gallery, Newcastle, the region's foremost public historical art gallery. The project generated a range of impacts across the local and national cultural, social and policy spheres:
`The Artists' City' project at Liverpool School of Art and Design (LSAD) was designed to strengthen Liverpool's creative communities by supporting emerging and early career artists. The research, recognised and supported by Arts Council England, has benefitted established arts organisations in the city (Bluecoat and FACT) as well as newer organisations (Royal Standard and Metal) in their offer to artists by improving the opportunities for artists to access studio spaces, engage with other artists, discuss their practice, and exhibit their work.
The leading open submission exhibition `EASTinternational' is significant in establishing the reputations of prominent artists and curators who have become major forces in contemporary art in the UK and across the world. `EASTinternational' parallels the rise of the Young British Artists, and is not dependent on an established commercial network. Many influential curators and dealers have used the exhibition as a serious sounding board for new artists, who otherwise might not have been provided a platform through which to engage with high profile practitioners, curators and dealers, and to access new markets. In researching contemporary and emerging practice, identifying topical exhibition themes, commissioning new works, originating solo exhibitions and developing international networks `EASTinternational' has supported the professional, career and commercial development of over 700 artists, curators and dealers, and enhanced critical discourse in a variety of disciplines.
The impact of this case study is the evidence that public art can function for social benefit. Significant research projects were completed for Ashford, commissioned by Kent County Council (2010), New Art Gallery Walsall (2005 - 2009), Collective Gallery Edinburgh, UK (2008), Liverpool Biennale (2010). This research claims three types of impact: 1. Public Service: a public artwork as part of a shared traffic scheme, which demonstrates a reduction in traffic accidents, 2. Civil Society: participatory artworks that enable public engagement in the design of a place (Ashford & the Black Country) , and 3. Influencing Policy — making: a contribution to policy debates concerning public art's function for social and economic regeneration.