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Andrew Burton's practice-based visual arts research, presented through international public exhibitions, commissions, illustrated lectures, conference presentations and publications has impacted on international cultural life and public discourse around the creative intersection between the worlds of sculpture, ceramics, architecture and craft. This research has:
a) provided opportunities for public audiences to experience unique artworks which embody and combine an articulation of fine art and craft sensibilities, methods and skills;
b) stimulated practitioner-led debate around the relationships between the practices and educational disciplines of sculpture, ceramics, architecture and craft.
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.
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.
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).
The Royal Albert Memorial Museum and Art Gallery in Exeter was completely redeveloped 2007-2011. Lalic was commissioned to make and permanently install three paintings related to her extensive Colour and Metal group for negotiated sites integral to the remodelled building. Through these paintings the large audience at RAMM, and beyond, gained an understanding of the relationship between the site, colour, pigment and metal. This includes an understanding of innovations in contemporary painting, of how painting might relate to the environment, an awareness of landscape as having a material history, of the development and significance of this extensive series of works and, in the Museum, the relation between the works by Lalic and other works in the collections and on exhibition.
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.
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.
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.
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.
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.