Founder of Q-Art London Sarah Rowles speaks about her experiences setting up Q-Art, a forum for visual art and culture students and graduates, which so far has attracted around 2000 members from across London's major art universities. This event took place as part of Enterprise Week 2009 www.arts.ac.uk/enterpriseweek09
Oeuvre of the incomplete Exhibition ReportAyẹni Ọlájídé
Oeuvre of the Incomplete is an exhibition organised by the department of architecture students in the University of Lagos. Curated by Ayẹni Ọlájídé and Ìfẹ́olúwa Ọ̀ṣúnkọ̀yà, the exhibition featured five artists; Yusuf Sanni, Kehinde Balogun, Quadri Sorounke, Philip Fagbeyiro, and Chris Iduma. With visitors from within and outside of the university.
Spiel allein - London Contemporary Art ExhibitionGallery NAT
After three months of preparation, the exhibition Spiel Allein-London Contemporary Art Exhibition will finally be held at Gallery 46, London, at 6-8pm December 7, 2022 (GMT), with artists, media and press, critics joining in together. The exhibition is thoughtfully planned by the curatorial team of Gallery NAT. The curators from Gallery NAT are devoted to support emerging and established artists for years and we have collaborated with more than 460 international artists all around the world. 26 talented artists from EU, Caribbeans, UK, Canada, U. S., Indonesia and China were selected and shown at Gallery 46 in London based on their critical thinking and contemporary art making.
Founder of Q-Art London Sarah Rowles speaks about her experiences setting up Q-Art, a forum for visual art and culture students and graduates, which so far has attracted around 2000 members from across London's major art universities. This event took place as part of Enterprise Week 2009 www.arts.ac.uk/enterpriseweek09
Oeuvre of the incomplete Exhibition ReportAyẹni Ọlájídé
Oeuvre of the Incomplete is an exhibition organised by the department of architecture students in the University of Lagos. Curated by Ayẹni Ọlájídé and Ìfẹ́olúwa Ọ̀ṣúnkọ̀yà, the exhibition featured five artists; Yusuf Sanni, Kehinde Balogun, Quadri Sorounke, Philip Fagbeyiro, and Chris Iduma. With visitors from within and outside of the university.
Spiel allein - London Contemporary Art ExhibitionGallery NAT
After three months of preparation, the exhibition Spiel Allein-London Contemporary Art Exhibition will finally be held at Gallery 46, London, at 6-8pm December 7, 2022 (GMT), with artists, media and press, critics joining in together. The exhibition is thoughtfully planned by the curatorial team of Gallery NAT. The curators from Gallery NAT are devoted to support emerging and established artists for years and we have collaborated with more than 460 international artists all around the world. 26 talented artists from EU, Caribbeans, UK, Canada, U. S., Indonesia and China were selected and shown at Gallery 46 in London based on their critical thinking and contemporary art making.
Steve and Social Tagging: Seeing Collections Through Visitors' EyesSteve Project
Brief introduction to Steve: The Museum Social Tagging Project, prepared for the RUSA Presidents' Program at the American Library Association's 2009 annual meeting.
This presentation gives a surface introduction to social practice art It also covers the major awards given in fine art so foundations students can come to understand the current fine art landscape.
InfoFest Kent 2017: Ideas Café - encouraging wider student reading, Andy PrueUKC Library and IT
The Ideas Café was established by Library staff and teaching staff in the Kent Business School, to tackle the problem of students not reading around topics. It provides a safe space for any student or member of staff to discuss a wide range of topics and give research-based presentations of a subject of their choice.
An overview of the programme, participants, process and projects behind AFFECT' Second Edition, summer 2015.
AFFECT is a Program for Collaborative Artistic Practices in Berlin initiated by Agora Collective e.V.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
Slides for a First Year introduction to aesthetics focusing on the problems of Donald Judd's dictum. The slides relate to my chapter entitled "Art Worlds" in Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley. Published University of Edinburgh Press, 2005
Talk given at LGP Art Theory Course (1968-72) Symposium - 18th November 2010
LGP are organising a symposium of leading academics, artists, curators and writers to analyse the echoes of events at CSAD 1968 - 72 and look at current art educational practice and the perceived systematised failures and/or successes. It will examine the role that the regional art education institution played in the art education narrative and its significance to the wider counter culture of the 70s. In the late sixties and early seventies, CSAD held a vital subset of staff and students who together were responsible for formidable critical opposition to the art education model’s perceived compliance with the market definition of the art object and its reliance on the centrality of the author. The Art and Language collective’s critical agenda was to shift focus beyond the material paradigm and to construct an education capable of reflecting and promoting conceptual practice. The 70s administration of CSAD repelled this self conscious overturn of the traditional material/author-centric regime. This unyielding stand, common through regional art schools at that time, created a network of opposing force which became part of the wider counter culture of the decade.
The symposium will look at the significant role that regional art schools played in the art education narrative and examine how, if at all, the art education institution can function as a site of self-organisation, agitation and change. It will be held at the Herbert and free to attend.
http://neilmulholland.blogspot.com/2010/10/dave-rushton-lgp-coventry-18th-november.html
Slides to accompany a Stage 3 School of Art lecture at eca based on my 'Reel 2 Real Cacophony' chapter in 'Scottish Cinema Now', Edited by Jonathan Murray, Fidelma Farley and Rod Stoneman, Cambridge Scholars Publishing, 2009.
Presentation for CAA 2010 Conference in Chicago
http://conference.collegeart.org/2010/
Historians of British Art British Art: Survey and Field in the Context of Glocalization
Chair: Colette Crossman, independent scholar, Arlington, Virginia
The recent three-volume History of British Art published by the Yale Center for British Art and Tate Britain invites reflection on how art historical surveys situate British art in political, economic, social, and cultural processes that affirm, vex, and otherwise relate “glocally,” integrating global, regional, and local contexts. What is “glocal” in the
historiography, narratives, and methodologies of British art surveys and the ways they lend coherence to a field, blur its boundaries, or position its subject in the mainstream or margins of art history? How
do they treat subjects and subjectivities—citizen, immigrant, emigrant, diasporian, tourist—that bridge local and global through lineage, heritage, memory, and travel? To what effects do they distinguish what is non-British or serve readers outside Britain? In what ways do British
art surveys or British art in world art surveys advance nonart glocal political, economic, or social relationships?
------------------------
Neomedieval Art after Britain
Neil Mulholland, Edinburgh College of Art
Discourses of “British art” are suspended in a geopolitical vacuum that is blind to constitutional changes that have taken place in the United Kingdom since the fin de siècle devolution settlements. These discourses share the common fallacy of assuming that “Britain”—as a
euphemism for a state and as a cultural imaginary—continues to exist as locus of meaningful cultural debate. In fact, since the mid-1960s, the
Keynesian bureaucracy designed to promote the imaginaries of British art has been gradually dismantled, replaced by new European, national,
regional, and transurban cultural technocracies. This is a symptom of neomedievalism—overlapping microgeographies supplanting unilateral
colonial narratives such as “Britishness.” To understand and envisage the cultural implications of the “Balkanization of Britain,” this paper
critically compares the 2009 Venice Pavilions of Britain, Scotland, Wales, Ulster, and the English Regions, foregrounding a neomedieval
self-reflectiveness as the basis of a post-British alterity.
These are still to be updated for Dorm, but are similar those I will discuss at:
The Model – Sligo, Ireland
Opening: Saturday 1 May 2010 18:00-21:00
Symposium: Sunday 2 May 2010 16:00-18:00
Exhibition: Sunday 2 May – Sunday 4 July 2010
http://themodel.ie/exhibitions/dorm
The Model re-opens May Day with the vibrant exhibition Dorm. To coincide with this occasion, Reactor open the doors of The Munkanon Centre for one day only, with Munkanites on hand and ready to help. For the duration of the exhibition, an audio recording will be left in situ, which along with the remaining artefacts and remnants provide a glimpse into the world of Munkanon.
http://neilmulholland.blogspot.com/2010/04/munkanon-centre-model-sligo-ireland.html
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
6. ABTREE diagram for: What will be the canon for the artist’s book in the 21st Century? A two year, AHRC - funded research project at the Centre for Fine Print Research, UWE Bristol, 2008-2010.
7. Visibility: Q. What makes today’s art schools so different, so appealing? A. Participation To nuture the values of contemporary art globallyEncourage a confident and sustainable art ecology in Edinburgh.
8. Visibility: World Famous (in Edinburgh?)eca art graduates are successful, the world just doesn’t know!Could you name any influential artist alumni from eca in the 21st century?Where do they show and how do they practice? Alexander Moffat, Poet’s Pub, 1980. SNPG.
9. Jonathan Owen Mortgage Music (2007) Embassy, Edinburgh. Represented by Doggerfisher, Edinburgh. Will Daniels William Blake II (2006) Oil on board Saatchi Collection Represented by Vilma Gold, London
10. Keith Farquhar Bastards (2005) Represented by NyeHaus, New York Anthony Reynolds, London NeuGalerie, Berlin Saatchi Collection Robert Montgomery WHEN WE ARE SLEEPING (2007) BALTIC Newcastle-Gateshead
11. Karen Cunningham Substance of We Feeling (2008) Glasgow International. Luca Frei No title (2008) Ingelby, Edinburgh.
12. Ellen Munro The Object Is Not Important As Long As There Is (2007) Athens Biennial, 2007 Kate Owens Affair at Styles (pink & blue) (2008) Frieze Art Fair and Zoo, London, 2009
13. Katie Orton Waitress (2007)Generator Projects, Dundee. Represented in Saatchi Collection. Rabiya Choudhry Featured in Prague Biennale 2 (2005) Czech Republic.
14. Babak Ghazi Ready Made - Yvon Lambert - Paris (MA Leader at Chelsea, London) Peter Donaldson- THE FALL OF BABYLON (PARTS I & II) Video projection (3 min & 4 min)
15. Katie Patterson All the Dead Stars Altermodern, Tate Britain, 2009 Solo show at Modern Art, Oxford, 2008
16. Craig Coulthard Forest Pitch (2012) Artists Taking the Lead, Cultural Olympiad Kim Coleman & Jenny Hogarth with Martin Creed New York Times Magazine feature on their Frieze Projects (2009)
17. Django Django (feat. alumni Tommy Grace and Dave McLean) The Beta Band (feat. alumni John McLean and Robin Jones)
18. Visibility: What can be done?Visibility responsibility of the Schools.Visibility for all art students to engage with.Collaborative, creative, imaginative rather than ‘heroic’.Distribution - exhibitions and projects! Display of posters by Martin Kippenberger, Tate Modern.
19. Becoming Visible: Get In Integrate with the field of contemporary art:Local, National and Global Invite guests as often as possible……..
20. Becoming Visible: Get Out Ruth Ewan Squeezebox Jukebox (2009) Altermodern, Tate Britain, 2009. Winner of East International 2006, Commissions for Artangel and Frieze Projects
21. Becoming Visible: ConnectNo audience = no art.Art practice is concerned with finding new ways of connecting with new audiences.Encourage students and staff to play a part in our communities and in the world at large. TatsumiOrimotoBread Man Courtesy by Ikon Gallery, Birmingham 2001
22. Strategy How to createan integrated21st century School of Art Neil Mulholland, Strategic Art Getts(2005)Embassy, Edinburgh
23. Art learning is kinetic, it is acquired by doing. Art knowledge is tacit and embodied. Art practice is a continuous cycle of processes:
24. Specialist: Award Disciplines Open learning rather than teaching. Philosophy and approach of staff is the discipline – base of each programme. Media-related but not constrained by media. Supervision for the student.
25. Art Core: Common Curriculum Taught jointly by teams from all three Programmes and Visual Culture Studies staff. What goes in…. to a practice ………what comes out………
26. Research for EducationEducation as ResearchStudent participation in new research.Workshop based electives. Zoe Walker/ Neil Bromwich: still from 'Love Cannon', 2005-2008, Lambda print. Courtesy the artists and Houldsworth, London
27. Electives - Workshop based Combine theory and practice. Examples of what might be written and taught jointly by teams drawn from Specialist Programme Awards, Visual Culture Studies and Guests.
28. Holistic model seen from a student’s perspectivePersonalised example of 3rd Year:
29. Holistic model seen from a student’s perspectivePersonalised example of 3rd Year:
30. Holistic model seen from a student’s perspectivePersonalised example of 3rd Year:
32. Slides available at www.neilmulholland.co.uk Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.
Editor's Notes
I’ve been asked to talk about my vision[… …..] This involves answering the question “where we want to go”?The answer to this is, I think, straighforward enough: towards an integrated 21st Century art school!This raises two questions:Firstly: What is art really like in the 21st century?Secondly: How do we visibly engage with this.
A Vision has to primarilyconcern itself with what artists want art to become.It is a catalyst for change - it should be led by emerging art practices.
Figuring out what is emerging is not any easy task since contemporary art is notoriously polyglot. The various elements that might make up the field of art in the early 21st Century are moving targets rather than fixed points of reference.The deeper you dig into any element the more layers and interconnections you find.
What we think of as discrete practices are in fact packed full of the variety of the artworld.e.g. Artists’ Publishing[MOVE ON QUICKLY TO NEXT SLIDE]
There is a spiraling of this particular approach to practice ranging from the artisan to the digital, from artists’ books to text messaging.The field of contemporary art is enormous and growing rapidly. This demands a dynamic approach to knowledge. Art education must continually change in order to engage with and contribute to this expanding field. Being contemporary means engaging with multiple perspectives and different ways of learning.
This raises the issue of visibility.How do we know what to engage with?How do we measure ‘success’? What are the indictors?Financially rewarding Careers? Prizes?Not really.It’s a question of participation. To participate in the international art world an art school needs cultural capital to trade. Itneeds to to expand its values by basing them on what I would call a‘democracy of creative experience’.It essentialto understand and nurture thesevalues globally. This necessitates fostering a confident and sustainable art ecology in Edinburgh from which to connect with the world.
eca art graduateswho have participated in this way are successful, the world just doesn’t know!For example:Could you name any influential alumni from eca in the 21st century?Where do they show and how do they practice?Here are a few:
Jon Owen and Will DanielsBoth studied painting at eca.THERE ARE A VARIETY OF PRACTICES – SOME OF WHICH ARE RECOGNISABLY IN TRADITIONAL MEDIA SUCH AS PAINTING, PRINTMAKING AND SCULPTURE
Keith Farquhar and Robert MontgomeryBoth sculpture THERE ARE A VARIETY OF PRACTICES – SOME OF WHICH ARE RECOGNISABLY IN TRADITIONAL MEDIA SUCH AS PAINTING, PRINTMAKING AND SCULPTURE
Karen Cunningham studied photography….Luca Frei did painting…Neither practice in their specialism….– YET FEW OF THE PRACTICES THAT ARTISTS ARE NOW ENGAGED IN COORESPOND TO THE PROGRAMMES THAT THEY EMERGED FROM
Ellen Munro and Kate Owens both did painting,Kate went to do a Sculpture Masters at the RCAEllen often facilitates participation based worksYET FEW OF THE PRACTICES THAT ARTISTS ARE NOW ENGAGED IN COORESPOND TO THE PROGRAMMES THAT THEY EMERGED FROM
Katie Ortondid SculptureRabiyaChoudhry did paintingTHIS IS BECAUSE THEIR PRACTICES ARE OFTEN CONCERNED WITH OR INFORMED BY COLLABORATION AND PARTICIPATIONBY A DEEP INVOLVEMENT IN THE DIY ASPECTS OF THE ARTWORLD
Babak Ghazi did paintingPeter Donaldsondid painting (Both working in video.)THIS IS BECAUSE THEIR PRACTICES ARE OFTEN CONCERNED WITH OR INFORMED BY COLLABORATION AND PARTICIPATION BY A DEEP INVOLVEMENT IN THE DIY ASPECTS OF THE ARTWORLD
Katie did TapestryIntermedia artist mostlyTHIS IS BECAUSE THEIR PRACTICES ARE OFTEN CONCERNED WITH OR INFORMED BY COLLABORATION AND PARTICIPATION BY A DEEP INVOLVEMENT IN THE DIY ASPECTS OF THE ARTWORLD
Painting, Tapestry and Sculpture graduatesAll work in live and participatory manner.THIS IS BECAUSE THEIR PRACTICES ARE OFTEN CONCERNED WITH OR INFORMED BY COLLABORATION AND PARTICIPATION BY A DEEP INVOLVEMENT IN THE DIY ASPECTS OF THE ARTWORLD
This raises two considerations:1) IT MAKES US THINK OF THE Importance of BANDS AS A METAPHOR - of ‘live’ and group-based working methods.2) IT MAKES US REALISE THAT such graduates are the best advocates for what any art school can offer. Their actions generate value virally.
Learning from the magnitude of achievements of more recent alumni might be used strategically.It might help emphasise the importance of engagement and participation – the educational value of their achievements rather than their place in a linear star system.Making their personal imagination social in this sense issomething that all art students must fully engage with.This means encouraging a higher standard and more frequent public-facing exhibitions and projects!
Crucially, in terms of the learning resources, an integrated school must be engaged directly with the enormous wealth of contemporary art infrastructure that we are lucky to have in Central Scotland.Invite important guests as often as possible…..Make strategic links with this ecology and work together in strategic partnerships.This will make a major contribution to the programmes by injecting fresh energy.
Becoming Visible: Get OutWe need to encourage an understanding of the unique economy of the arts…….. it is based on reciprocal altruism. Professionally speaking, reputation cannot be bought for all the money in the world.DIY is crucially important here : artists generate their own structures and values
Becoming Visible:A genuine understanding involves understanding our relatedness to others. This is the value of education.Staff should be valued as artist/educators as well as professional artist/researchers.There needs to be a shift of thinking in terms of what art students do, they need to be very ambitious and engage with the world around them.There can be not art without an audience, artists need to find their public, to find new ways of connecting with new audiences.
A Vision needs a Strategy to make it happen.Strategies are often concerned with managing risk. However art practice is about risk taking.So how to you encourage and manage risk at the same time?
What does ‘risk taking’ involve? Art learning is kinetic, it is acquired by doing. [many of the terms we use are action-based: to sculpt, to perform,to paint, to write, to mould, to edit, to cast, to print]Learning is a process of trial and error = Art knowledge is tacit and embodied. Art practice is a continuous cycle of processes.We need to rethinkwhat these processesare and base the curriculum on them. Learning through these processes produces the learning outcomes - this is what needs to be decided first and foremost.Only then can we think about how to structure the learning experience.
Specialist: Award Disciplines Need for unstructured time to make and play. Focus on learning rather than teaching. The practice should be led by what the student wants to learn.Discipllinarity is a lens or filter - defined by the philosophy and approach of art staff in relation to practices.This is what determines the unique learning outcomes of each programme.This may involve mediarelatedlearningbut should not be constrained by media. Students should be supervised by specialist studio tutors who are best suited to their particular practice.
Conversational practice is core to what we all do - we talk with one another.We need consider what core issues we’re having conversations about.This might mean thinking about what goes into an art practice.………and what comes out of an art practice.Having a shared conversation in this way helps to generate the educational values of the School.I’m interested in art students having a holistic knowledge of what they might need to become artists.Research and Visualisation– variety of methods and approaches including drawing, thought experiments, modelling, casting, field work, photography, etc.Documentation, Exhibition and Events - Should provide students with tools to exhibit their work, to promote it, and to document it, including how to write about and publish their practice. – In these areas we need to present a united front, one art school showing what they do the world.
Staff need to be able to demonstrate their research in and through theireducational practice.What’s taught has to be led by the latest staff research in eca.Art students should participate in this new research to ensure that it is continually updated.A Workshop model of electives would enable this to happen, complimenting play with purpose.
Electives - Workshop basedCombination oftheory and practice.Examples of what might be written and taught jointly.
The personal tutor, based in the programme philosophy, will help their students to determine the best pathway for them through the elective choices that might be available.
The personal tutor will also be able to ensure that the core is related directly to their student’s practice.
This enables a model that embeds core artistic values alongside the more specialist focus that each student needs.
To summarise:Art students are not customers; they are active rather than passive. A contemporary art education can’t be consumed, it’s something that involves doing, it demands participation. Art students are unique in Higher Education in that they are people who want to think and act. Students deserve programmes that encourage them to think about their contribution to the world- and to help them totake action.