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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.
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 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.
An exhibition researched and co-curated by the University of Reading's Alun Rowlands — The Dark Monarch: Magic and Modernity in British Art — at Tate St Ives presented an accessible new approach to the display of the Cornish gallery's artworks. It widened public access to this important resource and enabled public understanding and appreciation of 20th-century British art by juxtaposing, and drawing connections between, famous historical artworks, contemporary pieces and examples from popular culture, literature, film, music and local folk ritual. This democratic approach was extended through the associated educational projects, performance events and publications. The model has subsequently influenced strategy at Tate museums across the UK, demonstrating that connections can be drawn across different categories of culture as a way of emphasising the contemporary relevance of previously underused and obscure public collections and as a way of promoting public interaction.
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.
Research at the University of Bristol on the international contexts of British art has made a distinctive contribution to a renaissance of British art studies that began in the late 1980s. Over the past five years, scholars at Bristol have worked with museums in London, the regions and overseas to engage the widest possible audience in fresh thinking about British art. Exhibitions and catalogue essays informed by their research have raised awareness of individual artists and changed public and critical perceptions of British art as a whole. They have also brought many benefits to the museum partners, attracting visitors, generating income and enhancing the museums' understanding of their own collections. Some exhibitions have inspired additional collaborations which have fed back into research and further extended audiences for British art.
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.
Dr Antonello's research on the Italian designer and artist Bruno Munari and his relation with Futurism was instrumental for the realization of an exhibition at the Estorick Collection in London, titled `Bruno Munari: My Futurist Past', held on 19 September - 23 December 2012. This was the first exhibition of Munari's work in the UK and the very first exhibition outside Italy since he passed away in 1998. It caught the attention of international media, and prompted the engagement of scholars, teachers, and schools at all levels (from primary to university), as well as discussions among practitioners and graphic designers. The exhibition was organized in collaboration with the Miroslava Hajek Archive, Novara, Luca Zaffarano at munart.org, and the Massimo and Sonia Cirulli Archive, New York.
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.