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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.
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.
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.
In summer 2007 the vice-director of the Museo Nacional del Prado asked Professor Joannides to co-curate The Late Raphael, a major international loan exhibition held at the Prado and the Musée du Louvre in 2012-13. Extensive research by Joannides and his co-curator, Professor Tom Henry (University of Kent), from 2008 onwards shaped the content and form of the exhibition, which was supported by a scholarly but accessibly-written catalogue setting-out their findings. The exhibition brought significant financial benefits for both museums through increased visitor numbers and sales of the catalogue — now reprinted by Thames and Hudson for commercial distribution. The exhibition has raised awareness of the work that Raphael and his two closest pupils produced between 1513 and 1524 to the exhibition's visitors, to scholars and to the public at large through extensive international media coverage.
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.
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.
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.
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.
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.
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.