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In times of financial instability, there is particular pressure on arts and cultural institutions to operate effectively and attract, develop and retain new audiences. Research conducted at the University of Southampton's Winchester School of Art has directly enabled key cultural institutions to address these challenges. Since 2009 three major Tate exhibitions/events with related public education activities were built out of this research — resulting in over £140,000 of economic benefits for the Tate through ticket sales, a broadening of traditional audiences, and greater public understanding and knowledge of art and social history.
The impact of Cruise's work has been to extend and enrich the understanding, appreciation and value of aspects of British art from a university art historical research environment to Fine Art auctioneering houses, picture dealers, museum curators, and the general public. His greatest impact has been on cultural life and on museum and gallery culture. Cruise has investigated the art of the Victorian period and re-evaluated it through widely disseminated outputs, reviving interest in the life and work of Simeon Solomon and in drawing as a practice. Addressing issues of sexuality, religion, race, and patronage he has re-enhanced the relevance of Victorian works of art for various constituencies. In his Pre-Raphaelite drawing project [3.12, 3.13] he drew attention to a significant but largely overlooked feature; as a reviewer observed: "How could the role that drawing played for the Pre-Raphaelites have been [hitherto] so overlooked?" (Country Life, 16th March 2011).
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.
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.
York's British Art Research School, judged `world-leading' in RAE 2008, aims to change the way key cultural institutions represent British art. To advance this aim we have fostered partnerships with museums and galleries at local, national, and international levels. The partnerships have influenced curatorial practices through:
These initiatives have helped partners to display and promote a significantly wider range of British art and to generate new kinds of interpretation for larger and more diverse publics.
Professor Alex Danchev's research on the relationship between art, artists and politics has underpinned material changes to curatorial approach and practice at the Imperial War Museum, contributed to the planning of exhibitions at the National Gallery and the National Portrait Gallery, London, and has added depth to museums' and galleries' public programmes. It has stimulated new thought and practice amongst artists and writers, and has generated wider public debate about art, artists and politics. It has enriched the cultural debate by engaging thinkers, writers, broadcasters, practitioners, curators and educators, and the diverse publics with whom they engage.
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.
The artist John Piper, and his wife, the editor, anthologist and librettist Myfanywy Piper were key figures within the cultural field of mid-twentieth-century Britain. The research on which this case study is based brought to public attention their reclaiming for British art a sense of place, national identity and belonging. Through her books, essays, public lectures, journalism, appearances at literary and arts festivals and on radio and television Frances Spalding's research on the Pipers and their contribution to British culture has made a major impact on public life. The research has influenced cultural, heritage, and media organisations, directly altered policy on conservation of heritage, and shaped the cultural understanding of informed audiences, both in Britain and abroad.
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.
Work undertaken by the Centre for Transnational Art, Identity and Nation (TrAIN) at the University of the Arts London (UAL) focuses on the role of identity and nation in the production and consumption of artwork and artefacts. This has resulted in an increased awareness and critical understanding of transnational art and design, to the benefit of the Museums and Galleries sector, arts organisations, and the artistic community.