• ‘The competition for a monument to the Unknown political prisoner’

      Burstow, Robert; University of Derby (Tate Publishing in association with Yale Center for British Art, 2008)
    • Construction, storage, despatch

      Bevis, John; Cutts, Simon; Sackett, Colin; Brown, Rodger; Mustchin, Jill; Janssen, John; University of Derby; Rogers, Martin (Coracle Press, 2015)
      Publication to accompany the exhibition 'Martin Rogers: construction, storage, despatch' held at the University of Derby, 1 Feb 2016 - 8 April 2016 surveying the work of artist Martin Rogers. Edited by Simon Cutts of Coracle Press and containing essays by John Bevis with contributions from Rodger Brown, Jill Mustchin and David Ainley. Edition of 400 copies.
    • Construction, storage, despatch: The work of Martin Rogers

      Rogers, Martin; University of Derby; Brown, Rodger (2016)
      An exhibition of work charting the output of artist, Martin Rogers. The work of Martin Rogers (1952 – 2013) mediated between print, publishing, sculpture, sound art, installation, projection and photography. Martin was an artist of repute and for many years a member of staff on the Fine Art programme at the University of Derby. This exhibition draws together elements of his considerable artistic output, including sketchbooks, drawings, prints, publications and sculptures as well as archive and documentary material, all giving an insight into his eclectic output and approach. Displayed at various locations through the Markeaton Street building this exhibition offers an insight into the legacy Martin left behind as well as giving a flavour of the vast range and scope of his work.
    • ‘Domestic sculpture’

      Burstow, Robert; University of Derby (Apollo Magazine Ltd, 2008-11)
    • Embodying the landscape

      Blackie, Sebastian; University of Derby (The Australian Ceramics Association, 2017-04)
    • The Frequency Of Trees

      Locke, Caroline; University of Derby (Yorkshire Sculpture Park, 2014-10)
      The Frequency Of Trees is part of the Yorkshire Sculpture Park (YSP) Open Air collection and has an extremely large footfall (700,000 visitors during 2015/16). Public audiences engage with the research directly when walking through the grounds of the park. Spectators discuss how sound moves and how the body responds. The sculpture comprises of a series of 12 tuning forks tuned to the frequency of different trees within YSP: Oak, Horse Chestnut, Beech and the Cedar of Lebanon in the Formal Garden. The frequency of sound is measured by counting the number of occurrences of an event per unit of time. By measuring the number of times a branch or leaf on a tree moved a certain distance within a set time frame, Locke was able to equate tree movements with Hertz readings, the unit used to measure sound. After striking the tuning forks, spectators are required to listen for the resonating frequencies that continue long after the initial strike – these are the pure musical tones that exist after the initial high overtones recede. The commonly stated human hearing range is 20–16000Hz thus the 16Hz fork appears to have no sound, however , spectators can still enjoy the sight of sound by watching the fork resonate. The work is used as generator for learning on various educational programmes at Yorkshire Sculpture Park .
    • Geometries of hope and fear: the iconography of atomic science and nuclear anxiety in the modern sculpture of World War and Cold War Britain

      Burstow, Robert; University of Derby (Routledge, 2014)
      This chapter will investigate the ways in which nuclear science and technology figured in a variety of sculptural forms in early Cold-War Britain. First, it will show how from the 1930s the constructivist sculptors Hepworth and Gabo embraced atomic science, encouraged by contact with the crystallographer J.D. Bernal. Through works alluding to the geometry of crystal structures, they signified optimistic hopes for increased human understanding in a Socialist society. Second, the chapter will examine how the creation and use of atomic weapons led surrealist, social-realist and Pop sculptors to make critical works about nuclear science and technology. From the ambivalent to the satirical, works by Moore, Paolozzi, Peri and Self exemplify a range of sculptural representations of nuclear arms and the disarmament campaign (in which several sculptors and critics were active). Third, the chapter will consider the extent to which the expressionist sculpture of Butler, Chadwick, Clarke, Meadows and others has also been understood to reflect fears of nuclear warfare, despite an absence of explicit ‘nuclear’ signification. As this now familiar interpretation of their imagery has invariably been supported by Read’s famous characterization of it as ‘the geometry of fear’, the chapter will particularly interrogate the intended meaning of his epithet and how and when it became associated with the nuclear threat. Throughout the chapter, sculptors’ and contemporary critics’ explanations of these disparate formal and iconographical engagements with nuclear science and technology will be scrutinized, alongside analysis of how they related to the aesthetic and ideological oppositions of the Cold War.
    • Making a rock

      Locke, Caroline; Swann, Debra; University of Derby; The Academy in Antwerp; Nottingham Trent University (N/A, 16/03/2016)
      This collaborative project with Caroline Locke and Debra Swann was developed through a series of residencies at Primary, Nottingham and Summer Lodge at Nottingham Trent University 2016. The first exhibition at The Collectiv National Gallery, Antwerp, Belgium in 2016 and then developed further as part of an exhibition at Primary, Nottingham 2017. Making a Rock is an ongoing durational performance that attends to the physical construction of a large-scale object (a cardboard ‘rock’) embracing the potential of duration, temporality, liveness and performativity. Using photography, video and sound to document this process of making, the enquiry expands the vocabulary of sculptural practice through the focus of the durational aspects of making and the idea of the sculptural work in flux. This enquiry explores the process of making and collecting data. It investigates how we understand objects and sound and the properties and qualities they possess. Through the artist/object relationship a focus on the evolution of an object and the artist’s process is examined. Rock Music is a composition created using sounds taken from recordings of the artist Debra Swann making a huge cardboard rock. The artists have explored the different kinds of data gathered from their combined artistic practices. They extract the data and rework it in live performances and exhibited works. Rock Music explores sound in relation to domestic and labour intensive activity. The composition is cut onto a vinyl record which is played over and over within the exhibition space. The sound of the activity becomes abstract and otherworldly when amplified. Mundane working involves repetition – a strange rhythm develops – a kind of chant.
    • Making shaking shifting pouring sawing

      Locke, Caroline; Swann, Debra; University of Derby; Nottingham Trent University; Collectiv National Gallery, Antwerp; The Royal Academy of Fine Arts Antwerp (Primary Studios Nottingham, 2017-02)
      Making Shaking Shifting Pouring Sawing is an installation, exhibition and live Performance. The work explores the idea of repeated and intensive labour and the data gathered in relation to artistic and domestic processes. The exhibits and performances feature made and found objects and the data collected in relation to repeated activities whilst making or working with the objects. The data is retrieved as sound, physical data, digital imagery and animation. These elements are exposed as part of live performances and exhibited kinetic sculptures and devices. The project involved collaborative research explored by Caroline Locke and Debra Swann and was initially developed through a series of residencies at Primary, Nottingham and Summer lodge at Nottingham Trent University 2016. The first exhibition was in Antwerp, Belgium, at Collectiv National, Antwerp Gallery in 2016 (Collectiv National, was founded by Janna Beck and is linked to The Royal Academy of Fine Arts in Antwerp, Belgium). An exhibition and live performance at Primary, Nottingham followed in 2017. As an extension of Locke’s residency at Nottingham University, based across the Mixed Reality Lab and Horizon Digital Economy Institute, Locke and Swann worked with Assistant Professor Max Wilson and Horia Maior, who equipped Debra with a brain scanning device known as Functional Near Infrared Spectroscopy (fNIRS) in order to record mental workload levels during her creative making processes. Visualisations of the recorded brain data were projected as part of a live performance and exhibition. The brain data was also used to control various devices as part of the exhibition. For example: a motor uses the rate of brain activity to speed up and slow down a record deck. Rock Music is a composition created using sounds taken from recordings of the artist Debra Swann making a huge cardboard rock. The ‘music’ was cut onto a vinyl disc and played on the brain data controlled device. Rock Music explores sound in relation to domestic and labour intensive activity – The brain effort during the making activity controls the speed at which the record plays during the performances and exhibitions. Shaking Shelves is a kinetic sculpture which is also part of the live performance and exhibition. The brain effort during a cleaning and sweeping process controls the speed at which the motor attached to a shelving unit spins. The shelves are loaded with domestic items and the vibration and movement of the motor causes the shelves to vibrate and the items to shake and sometimes fall. The extended Performing Data research is funded by the Arts Council and explores ideas around body rhythms and physical data in connection with labour, multi-tasking and women's work. Locke is interested in capturing data and using it to control kinetic sculptures within an immersive environment.
    • Ronald Pope: modern sculpture in the public eye

      Burstow, Robert; University of Derby (University of Derby (The Open Studio), 2008)
    • Sculptural works CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby (2020-01)
      Sculptural Works CaCO3 series were produced to explore writing-as-becoming. The works question the material world of the human and non-human body (chalk deposits from past marine life), in order to explore the dialogic relationship of the female body and its relationship to authorship and the writerly. The sculptural works were created as interactive documentation of the research enquiry to excavate the work. The sculptural works produced the following sculptures, which were later commissioned for display at The Glass Tank, Oxford 2020. The works produced were: 1. Screwed chalk (see images) 2. Steps and hosiery (see images) 3. Strata (see images) Through creating the sculptures we repurposed the traditional idea of exhibiting visual art as display and as fixed point to exhibiting as research and as touch – to feel the way to the next level, to allow others to intervene and alter course, expand discourse.
    • The 'Sculpture in the Home' exhibitions: reconstructing the home and family in post-war Britain

      Burstow, Robert; University of Derby (The Henry Moore Institute, Leeds, 2008)
    • ‘Sculpture in the Home': selling modernism to post-war British homemakers’

      Burstow, Robert; University of Derby (Liverpool University Press, 2008)
    • Water-fountain-sculpture

      Locke, Caroline; Wermers, Nicole; Pye, William; Janzing, Godehard; Bussman, Valerie; German Forum for Art History; University of Derby (Henry Moore Institute, 28/01/2017)
      This seminar event explored how water and fountains have been used by artists and sculptors for a variety of purposes. The afternoon began with a discussion of Marcel Duchamp's 'Fountain' (1917) and examined more recent examples of water sculpture such as the memorial at Ground Zero. In collaboration with Dr Godehard Janzing (Deutsches Forum für Kunstgeschichte), Valerie Bussmann (independent), Nicole Wermers (artist), William Pye (artist) and Caroline Locke (artist). Godehard Janzing discussed ‘Falling Waters at Ground Zero: when Terrorism turns into Nature’ and how the use of the symbolism of water becomes problematic in this context. Valerie Bussmann continued the theme of the city with an examination of the relationship Paris has with water as both necessity and art. Water as a sculptural material was explored by Nicole Wermers, focusing specifically on her 2011 series ‘Wasserregal’ (‘Watershelves’). William Pye has long been inspired by water and first introduced it as a major sculptural element in his work in the 1980s. Caroline Locke shared the themes of water and vibration, which have formed a key part of her practice and focused on her use of water in connection with her Performing Data projects. She has used her water fountains to animate certain data sets in connection with the human body and environmental data.