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Martin Kemp's research on Leonardo da Vinci has had a significant impact on the presentation of cultural heritage. Combining scientific approaches and connoisseurship, his research — presented both in academic works and through books written for a general audience — has received a high level of publicity and garnered a large and wide-ranging following. In turn, this prominence has influenced professional practice in relation to the authentication of artwork and the public understanding of the various issues surrounding artistic authenticity, as well as having a potentially significant effect on the commercial value of specific works.
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.
Our research on historians, TV history programmes and those who make them, brought together the perspectives of television scholars, academic historians and media industry professionals engaged in bringing history to the small screen. By involving key actors consistently throughout the life of the project, the researchers both challenged and begin to influence the shape of history programming on UK TV. Programme makers responded to the striking gaps in coverage our research identified in relation to class, race and gender. They also took the opportunity afforded by the research to think more widely/imaginatively about how their practices might alter to create different historical coverage on TV. The impact of our research extended beyond the UK as it provided the UK section of a report on televised history in Europe which was presented to the European Parliament in December 2011
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.
Professor Chaney's research has had a major impact on the awareness of the Grand Tour as one of the most significant cultural phenomena since the Renaissance, today's cultural tourism being its most obvious legacy. This has been achieved by international publications, the organization of conferences, exhibitions, numerous well attended public lectures throughout Britain, continental Europe, Egypt, America and Australia, and contributions to television and radio programmes, including BBC 4 and Radio 4. His promotion of Italian culture has been recognized by the Italian government with the title of Commendatore. His research continues to reach global audiences through Adam Matthew Digital's publication on The Grand Tour, 2009.
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.
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 Leon Golub retrospective at Madrid's Reina Sofia Museum introduced Golub's politically engaged work to a city with a radical political history. Curated by Jon Bird, leading authority on Golub, it examined how Golub's depictions of political and military power impact upon individual and collective social bodies. It also related Golub's work to paintings by Goya and Picasso. Extensive public/media response, particularly as it spread through the Spanish-speaking world, confirmed the achievement and topicality of Golub's practice and the significance of the retrospective. Consideration of the role of painting as a mode of political commentary in itself, and as a catalyst for broader discussion of the visual representation of dictatorships and state violence, was found amongst curators, critics, and the general public. Bird's curatorial approach was informed by Middlesex University (MU)'s critical legacy of visual cultural studies, emphasizing works of art as social, material and expressive cultural objects.
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.
Dr. Miller, Professor Owen and Professor Wilks' research underpins Cultural Memory studies. It spans several decades and has engaged with and impacted upon academia and society via numerous forms of dissemination such as monographs, chapters in books, journal articles, broadcasts, exhibitions, websites, conference papers and public talks. Cultural Memory is a relatively new area of study that examines, and seeks to raise awareness of, the way in which society, the individual and cultural production is reconstructed via the remaining material evidence. Hence it focuses equally on material evidence and the problematical way in which it is often distorted by contemporary filters.