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Researchers at the Photography and the Archive Research Centre (PARC) study the practice and products of photography in terms of both artistic importance and social relevance, recognising photography's many roles including its presence in: the art world; reportage; autobiographical practice; and in social and political education. This case study demonstrates PARC's impact on cultural life via the production of work and curatorial practice, bringing new insights, challenging assumptions, and raising awareness of the role of photographic practice in the public realm.
Research into the artist Dora Gordine established her importance in twentieth-century art and design, and her significance in the wider cultural and political arena. This research led to the establishment of an ambitious large-scale exhibition on Gordine at Kingston Museum.
This exhibition had a lasting beneficial impact on the practices and capabilities of the museum, enabling it to use the skills and experience gained in the Gordine exhibition to launch a new exhibition on Eadweard Muybridge and to build new partnerships with the British Film Institute and the Tate. This has significantly changed the culture and approach of Kingston Museum, enhancing its local, national and international standing.
This case study describes the impact of the FORMAT International Festival of Photography which is a collaboration between the QUAD Independent Cinema & Media Arts Centre and the University of Derby. The Festival has developed from high-level creative practice, which advances the development of the photographic medium, creating a legacy resource and contributing to public understanding and engagement. FORMAT confirms Derby as a major centre for photography in the UK with an international reach, and reflects the reputation and heritage of the University of Derby in the area of photographic research and education over five decades.
The practice-based research output nanoq: flat out and bluesome, a cultural life of polar bears has had impact on cultural life, civil society and on both artistic practitioners and museum/gallery professionals. These impacts have been created through the interdisciplinary nature of the work, and have challenged engrained approaches to the divide between art and museology, and to fixed perceptions of human interactions with the natural world.
Evidence for the cultural impacts and influence on civil society, through provoking consideration of environmental issues on the level of an emotive response to changing values and the consequences of societal norms, is primarily provided through reviews of the outcomes themselves, mainly through arts and science journals, book chapters and testimonials by scholars and practitioners in a variety of fields. Similarly, impact on the approach to professional practice in art curation and, particularly, in museology is similarly documented in the public domain.
The History Department at York has a long-standing commitment (embodied in the work of James Walvin, Simon Smith, Douglas Hamilton, Henrice Altink and Geoff Cubitt) to path-breaking research into the history and memory of transatlantic slavery. Our researchers have worked closely with museums and educational practitioners to establish a `virtuous circle' in which research: (i) influences the content of heritage and educational presentations; (ii) reflects on those presentations, gauging public response and prompting stakeholder debate; (iii) provides constructive feedback to museums and others. This impact case study shows how research by members of the Department has contributed to each stage of this process. Professor James Walvin's research publications from 1993 until his retirement in 2005 revealed how slavery has shaped the nature of contemporary British society, a body of work that significantly contributed to the slave trade's inclusion in the National Curriculum in 2008. In addition to his on-going record as an exhibition curator, historical advisor and commentator on slavery, he advised and helped create the York AHRC-funded `1807 Commemorated' project (2007-9), principle investigator Laurajane Smith (Archaeology) and co-investigator Geoff Cubitt; Data Management Group Walvin. This project helped heritage professionals and other stakeholders understand and analyse the extensive museum activity on slavery generated by the 2007 Bicentenary of the Act Abolishing the Slave Trade, and led to innovations in museum practice and new collaborative relationships within the sector.
This research was initiated in 2003 in recognition of the neglect by museums and galleries across the UK of disability history, arts and culture. Before the research began, disabled people — comprising the UK's largest minority — were almost entirely absent from and/or misrepresented in the UK's cultural heritage institutions. Three distinct but sequential projects investigated this and, through a programme of action research:
- stimulated and supported experimentation in museum exhibition and learning practice in the UK and internationally, enabling museums and galleries to confidently engage visitors in debates surrounding disability, disability rights, hate crime and, more broadly, discrimination and societal attitudes towards physical and mental difference;
- developed new approaches to interpretation and audience engagement that have changed the ways in which general visitors and schoolchildren think about physical and mental differences and the rights and entitlements of disabled people;
- pioneered new approaches to museum practice that have informed policy and set standards for best practice not only in the UK but internationally.
Ysanne Holt was Academic Advisor and Commissioning Editor for Tate's Camden Town Group in Context project, funded through the Getty Foundation's Online Scholarly Catalogue Initiative which aims to transform how museums disseminate information about their collections. Holt undertook and commissioned new research into the Group's artworks and their broader contexts. Impacts derived from the project's online catalogue include increased awareness for national and international public and specialists; and improved access to the art and its contexts via a multi-platform open access facility. In addition, the project has influenced the Tate's Digital Strategy and led to the creation of the new post of Digital Editor within Tate's Research Department.
In March 2013, the British Library (BL) launched the first national oral-history archive of the British Women's Liberation Movement (WLM). A permanent public resource preserving the voices of 1970s/1980s feminists, the archive was the outcome of 'Sisterhood and After: The Women's Liberation Oral History Project', a three-year Leverhulme-funded research-partnership project led by PI Margaretta Jolly, in partnership with curators at the BL and the Women's Library (WL). Through the national prominence this archive has achieved and the numerous curatorial, educational, cultural and community activities directly associated with it, the research is having a significant impact on the public perception of feminism, bringing it to life for new audiences.
The University for the Creative Arts has a longstanding commitment to the history, practice, and theory of craft. The research of the Crafts Study Centre (CSC) and Anglo-Japanese Textile Research Centre (AJTRC) has long championed the work of craft practitioners in order to find new ways of thinking through creative practice. This curatorial work, public facing in nature, has contributed to the personal, professional and creative development of a range of craft practitioners by offering an enquiry-led platform for the exploration of craft as profession. Though this research has brought numerous benefits to a wide range of people and organisations, this case study explains specific qualitative and quantitative benefits brought to a number of craft practitioners by this work.
The last twenty years has seen a gradual transformation of museums from being collections-focused to becoming audience-centred organisations. Graham Black, a `practitioner academic' with a proven commercial track record, has played an important role in enabling this change. His research has been instrumental in developing alternative approaches to display, activities and events, and online provision. Black argues that the speed of change in the external world - a `perfect storm' involving rapid demographic change, generational shift and the influence of new media —must be matched by an equally speedy response in the definition, mission and public practice of museums (`Developing Audiences for the Twenty-First-Century Museum', 2013). Through publications, talks and exemplar design practices his work has helped to shape public debates on museums and user participation/user generated content, and on museums and civil engagement, in the UK, Europe and beyond.