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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.
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.
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.
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.
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.
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 impact of Professor Taylor's work in interpreting modern and contemporary art has taken place on two complementary levels: on the one hand the lucid and accessible exposition, for a wide international reading public, of some of the most difficult, intractable, or provocative works of recent and contemporary art; and on the other, more specialist readings, again for an international reading public, of key tendencies in the broader range of modern art, from Cubism to the present day. Wide readership across Asia, Europe, and the United States has secured increased public understanding of art, and has influenced both policy and art practice.
This case study focuses on three areas in relation to the social impact of art, across the categories of `cultural life' and `public discourse'.
1) Artistic collaborations with non-artistic specialists in order to generate new interdisciplinary pathways
2) Artistic collaborations with non-artists within a given community or non-artistic institutional setting in order to create new forms of artist-audience participation
3) The sharing of knowledge/skills between either non-artistic specialists or a non-specialist audience and artists in the production of a shared task or project.
4) Performance-based practice inside and outside of the gallery
The outward facing nature of this research, then, addresses the way such work tests the prevailing competences, boundaries and identities of artist and audience alike. This means researchers are involved with both artistic and non-artistic funding-bodies and agencies as the basis for work on a range of critical issues affecting the borders between the art institution and non-artistic settings and contexts.
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.
Research by Libby Sheldon into the history and technology of paints and pigments has benefited conservation specialists and art professionals based in both museums and the art trade. Using specialist scientific techniques to examine artists' paint materials, her research findings have made possible the accurate dating of Old Master and British paintings and have played a crucial role in their authentication and critical re-evaluation. Her analysis of works in important public as well as private collections has contributed to both professional and public understanding of our cultural heritage. Her research has enriched appreciation of technical art history for a large general audience through museum displays and programmes and through high-profile media appearances enhancing the understanding of how art is made from a technical and material perspective.