Visual Arts

job: CADRE PhD Studentships

Application Deadline: 

The University of Wolverhampton’s Centre for Art and Design Research and Experimentation (CADRE) is offering three full time PhD studentships. Bursaries are for three years, at £12,500 per year with full tuition fee remittance. Bursary students will be expected to be working ‘in residence’ at the University of Wolverhampton.

We are interested in PhD studentship proposals which are practice-led and theory-based. Potential students are encouraged to contact the following CADRE research supervisors.

***Art, Critique and Social Practice*** [read more...]

project: An investigation into what constitutes a reproduction in the 20th Century, through the 19th Century collotype process

This project challenged the notion of what constitutes a reproduction in the light of 21st Century digital technology and print output through an evaluation through visual and practical research into 19th Century photomechanical print processes, in particular the process of collotype. Whilst the contemporary half-tonal system is a commercially economical means of printing, the resulting images do not fully attain the same depth of colour or image clarity as those produced by either chemical photography or the screenless photomechanical printing processes in use at the end of the 19th century. [read more]

project: Making Britain: South Asian Visions of Home and Abroad (1870-1950)

The Making Britain Database launched in September 2010. It houses an annotated bibliography of selected materials relating to South Asian artists, writers, activists and organizations in Britain during the period 1870 to 1950. Britain has had a migrant South Asian population for over 350 years, since its early trading encounters with India. But the perception that a homogeneous British culture only began to diversify after the Second World War persists, and research into the South Asian diaspora in Britain has focused predominantly on this later, post-independence period. [read more]

project: In an arena including digital and traditional artists' publishing formats - what will be the canon for the artist's book in the 21st Century?

This project investigated and discussed issues concerning the history and future of the artist’s book. Our aim was to extend and sustain critical debate of what constitutes an artist’s book in the 21st Century - in order to propose an inclusive structure for the academic study, artistic practice and historical appreciation of the artist’s book. All of the research outcomes, including the publication A Manifesto for the Book, audio and video files,interviews and case studies are downloadable from the project website. [read more]

project: Why me? Artist's use of self image

The project created an alphabetically presented research database containing the names of over 340 artists worldwide who feature their own physical presence within the artworks they present. It is anticipated that this database will be of interest to artists, academics within the research community, the art media and art viewing public; specifically those interested in investigating and questioning cross cultural parallels between artist's use of self representation through diverse artistic practices. [read more]

project: The Sublime Object: Nature, Art and Language

Our investigation aims to achieve a greater understanding of the ways in which perception of the sublime in the external landscape - rural and urban, historic and contemporary, real and imagined - are shaped by cultural experiences: the art that we look at, the books that we read, and the ideas that are communicated to us through the medium of history, philosophy, poetry, politics, and religion. [read more]

blog: DH2010 visual art/visualization, Thursday 8 July, Session 2

Getting ready for the visual art/visualization panel now, and got here nice and early to nab one of the very few outlets in the room (my first live blog of the day - on Humanities Labs - was thwarted by the lack of power). Hopefully I won't get in trouble for endangering the health and safety of DHers. The theme this is organized around is to try to critique the use of digital tools and methods in art history and history, so the focus is on tools and resources rather than research questions. [read more...]

project: Glasgow Emblem Digitisation Project

The site has been developed, with generous funding from the Arts and Humanities Research Council under the Resource Enhancement Scheme, by a team led by Post-Doctoral Research Assistant Jonathan Spangler, and Project Director Alison Adams. All but two of the emblem books digitised are from the Stirling Maxwell Collection in Glasgow University Library. The Bodleian Library and the Bibliothèque Mazarine have generously made material available to enable us to present the complete corpus. The Project is undertaken within the OpenEmblem initiative. [read more]

project: Sharing and Visualizing Old St. Peter's: East and West in Renaissance Rome

This project set out to examine the reception of pilgrims from Ethiopia, Armenia, Hungary and Germany in their own compounds on the south side of Old St Peter’s in the 15th century, and to explore the cultural exchange provoked by these visits. Because contacts between papal Rome and the oriental Christian communities of Ethiopia and Armenia are an almost unexplored area of scholarship, it soon became evident that these were the two nations that needed the most detailed treatment. [read more]

biblio: Painting the Digital River:how an artist learned to love the computer

James, F. W., "Painting the Digital River:how an artist learned to love the computer", n.a., 1, vol. n.a., no. n.a., (publisher) Prentice Hall, Upper Saddle River, N.J., U.S.A., pp. 320, 2006.

This book is about art, written from an artist's point of view. It also is about computers, written from the perspective of a painter who uses them. Painting the Digital River is James Faure Walker's personal odyssey from the traditional art scene to fresh horizons, from hand to digital painting--and sometimes back again. It is a literate and witty attempt to make sense of the introduction of computer tools into the creation of art, to understand the issues and the fuss, to appreciate the people involved and the work they produce, to know the promise of the new media, as well as the risks. [read more...]

Syndicate content