• Jane Eyre's Arrival at Thornfield Hall: Illustration of Jane Eyre’ arrival at Thornfield Hall

      McNaney, Nicky; University of Derby (2014-06)
      The illustration was awarded first prize in the illustration section of the Brontë Society creative competition. The print submitted for the Brontë creative competition investigated and examined the use of hand drawn elements in a predominantly photographic printing process and how this might be developed and disseminated to the design student cohort through my teaching using the photogravure method of creating mark-making. The work has been viewed at local, national and international levels by those interested in the works of the Bronte’s and the research could potentially give a greater understanding of the history and literature of the Bronte’s to general art enthusiasts and a wider public audience. Also published in Bronte Studies January 2015 40 (1)
    • Jerwood drawing prize 2015

      Fisher, Craig; University for the Creative Arts (2015)
      Group exhibition tour.
    • John Minton’s "Time was away: A notebook in Corsica"

      Neal, Ian; University of Derby (10/11/2016)
      The paper examines the range in Minton’s approach at two levels. Firstly, it considers his dual strategies of Romanticism and Realism. Minton conflates topographical concerns with Neo-Romantic tendencies and draws on the landscape traditions of the sublime and picturesque, and the trope of the figure in the landscape. Secondly, the paper examines the images within a register of autonomy. Some images, operate autonomously, procuring primarily aesthetic responses; in contrast, others demand more literal intertextual readings; still, a further category of semi autonomous images are identified which subtly evoke elements of the text, without being hostage to Ross’s prose. These works in particular, I argue, invite the reader/viewer to re-assemble text and image so as to re-envision and re-imagine the Corsican Landscape. By examining text-image relationships, the place of landscape in post-war illustration, collaborative practice, and the relationship between fine art and illustration, the paper aims to contribute to forwarding the theorisation of illustration.
    • Jonathan Vickers and Kerri Pratt

      Robinson, Carl; University of Derby (WordPress, 21/07/2014)
      2014 Jonathan Vickers Award winner Kerri Pratt, her work and circumstances relating to the award.
    • Journals and CPD

      Bryson, David; University of Derby (2016-06-02)
      One of the significant tools for supporting continuing professional development (CPD) is the Institute of Medical Illustrators (IMI) owned publication the Journal of Visual Communication in Medicine. Other journals, for example the Journal of Biological Photography, The British Journal of Photography, British Medical Journal and specialist journals associated with specific areas of medicine, education and illustration, are also helpful. The aim of this paper is to look at journals and CPD together with activities to help you engage with current literature, practice and research. If you look at the examples of CPD activities suggested by both IMI and the Health Professions Council (HPC) one of the recurring themes is the role of journals (Table 1). Journals, alongside conferences, regional and national meetings, are key means of dissemination of research and support for professional development.
    • Journeys, pathways and track plans

      Rushton, Stephanie; University of Derby (2014-10)
      Journeys - a 2 week contemporary art exhibition based around the idea of the various forms a journey can take, be that physical, of the mind or imagination. Ecopsychology is a psychological subfield that looks at the relationship between human beings and their environment, embracing a more revolutionary paradigm: just as Freud believed that neuroses were the consequences of dismissing deep rooted sexual and aggressive instincts, eco-psychologists believe that grief, despair and anxiety are the consequences of dismissing equally deep rooted ecological instincts.’ It is this connection between the human psyche and nature that is being explored. ‘In the Drowned World’ a recent series of images taken on walks along the track-bed of a disused railway feature labyrinthine, tangled and sometimes menacing vegetation inspired by the paintings of Max Ernst, alluding to Ballardian themes of nature’s retribution. The large scale image is printed on duratrans mounted on opaque Perspex and fixed to the outside of a window, the impression being of the tangled vegetation viewed through the window.
    • Karri Pratt: Our treasure houses

      Robinson, Carl; University of Derby (Derby Museum and Art Gallery, 2015-09)
      Kerri Pratt’s paintings have references to curious spaces derived from man-made, industrial and urban landscapes. Drawing on childhood memories of growing up in an ex-mining town, when the demise of previously thriving industries of Collieries, Potteries, Pipeworks and Brickworks were all too prominent. Kerri has reconnected with her home county of Derbyshire to produce a new series of paintings referencing remnants and traces of our industrial heritage.
    • Kathmandu: disiecta membra

      Nicoletti, Martino; Passuti, Roberto; University of Derby, School of Art and Design (Bologna: Stenopeica; Firenze: A-Buzz Supreme, 2013-07-15)
      A musical CD of electronic music devoted to the Himalayan metropolis of Kathmandu. The CD, created by Martino Nicoletti and Roberto Passuti for the independent music label Stenopeica, contains 11 songs. Special guests are the Italian singers Giovanni Lindo Ferretti and Teresa De Sio.
    • Kathmandu: eclissi delle due lune

      Nicoletti, Martino; Passuti, Roberto; University of Derby, School of Art and Design (Florence - Bologna: A-Buzz Supreme - Stenopeica, 2013-04)
      A CD of electronic and experimental music (ten tracks) created by Martino Nicoletti and Roberto Passuti. The work is inspired by the metropolis of Kathmandu (Nepal).
    • Kathmandu: leçons des ténèbres (Kathmandu: lessons of darkness)

      Nicoletti, Martino; University of Derby, School of Art and Design (Bangkok: Parbphin LDT, 2010)
      An artist’s book devoted to the abyssal metropolis of the Himalayas. Fragments from the travel note book of the author, encounters, poems, tales, visions, accompanied by a rare selection of black and white analogue photographs. The work has been published in a numbered limited edition of 108 copies, each enriched by a personal artwork of the author.
    • Kathmandu: lezioni di tenebre

      Nicoletti, Martino; University of Derby, School of Art and Design (Casadei Libri Edizioni - Roma, 2012)
      A poetical book devoted to the Himalayan metropolis of Kathmandu. The work is enriched by a large series of photogaphic images by the author.
    • "Kathmandu: lezioni di tenebre": un libro e della musica dedicata ad una metropoli dell’abisso ("Kathmandu: lessons of darkness": a book and a CD devoted to a metropolis of the abysses)

      Nicoletti, Martino; University of Derby, School of Art and Design (Centro Studi Orientali Roma, 2013-05-28)
      An article devoted to the publication of a book (poetry texts, photos and an attached musical CD) by Martino Nicoletti and devoted to the city of Kathmandu (Nepal).
    • Kelly + Jones : The Glass Tank Seers in Residence CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-02)
      Kelly + Jones' research explores a decentralised and phenomenological methodology for approaching shared research dynamics. The Kelly + Jones: The Glass Tank Seers in Residence CaCO3 project approaches investigation as a non-hierarchical, non-linear series of happenings that privilege knowledge as a mingling and arrangement of rhythms and textures in anticipation of the appearing of the not-yet-seen. The Seers in Residence research model was first developed by Traci Kelly (2012). Kelly + Jones proposed that this model should form part of their practice as research exhibition at The Glass Tank, Oxford Brookes University, 2020 with an expanded scope to create a research opportunity not only across disciplines as previously but and also across generations of researchers. A key component of creating a research ecology lay in inviting others to pursue their own research through the lens of the exhibition. A micro-residency research model ”Seers-in-Residence” developed by Traci Kelly in 2012 as an open resource for creative practices provided the structure. Each invited researcher spent a continuous three hours engaging with Kelly + Jones’ exhibition material through the prism of their own discipline and research interests. The contingent research-in-action expands, renews and shifts the territory of artworks and practices, providing a ground for each ”Seer” to further mobilise their investigations through the process. The innovative intervention into exhibiting-as-research, created an inter-departmental, cross-disciplinary and inter-university research opportunity for four female researchers. The intergenerational grouping of researchers was also key to the process and included a management/senior researcher, a lecturer/ researcher, a PhD candidate and a third year B.A. Fine Art student. The result was the process built an intergenerational experience to benefit all participants by allowing integrated critical futures to develop within the Oxford Brookes University environment. Feedback from the residencies has been highly positive with students and staff commenting that they don’t normally get to witness their lecturers in active practice-as-research. The residencies also keep a static exhibition enlivened throughout its duration. The methodology: *The three-hour micro residencies were dependent upon a commitment by Oxford Brookes University to a resulting integrated publication on the different research areas and responses in order to disseminate the research. The micro–residencies took place once a week or twice a week depending on the duration of the exhibition. The invited seers were: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art Through this unique method by Kelly + Jones they worked in depth with an appropriate and coherent process of practice as research. The context of creating and inviting other researchers to have a micro-residency and to site their occupations within the Kelly + Jones exhibition at The Glass Tank established practical reflection points through our own research and the trajectories of the seers own research interests - working in parallel. The outcome of the seers residency programme and its engagement with the Kelly + Jones exhibition as part of the research enquiry was that we were able to decentralise the research by opening it up to other researchers at various stages in their career without hierarchy. We have moved outside of the Fine Art community to gain fresh insight into our theory framework and site knowledge; this as evidenced by seer and geographer Professor Helen Walkington who brought new insight about the presence of flint within chalk beds and their significance around human activity.
    • Kelly + Jones In Conversation with Seers in Residence Artists for The Glass Tank

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (2020-04)
      This research event took place online during lockdown so that Kelly + Jones could share insights and learnings of the exhibition process with the seers. Kelly + Jones invited the seers to consider the geographical site(s) of chalk deposit, the original residency site of a Victorian school staircase and our own bodies as a site. In addition to this Kelly + Jones extend an invitation to the seers to create site-specific responses to the exhibiting context. The conversation was hosted by Kelly + Jones with Seers researchers: Janice Howard BFA (Oxon), MA, SFHEA. Senior Lecturer in Fine Art. Professor Helen Walkington BSc, PGCE, MSc. PhD, FRGS, NTF, PFHEA. Department of Social Sciences Deborah Pills BA Fine Art, Year 3 Kate Mohony Associate Lecturer Fine Art The outcome of this sharing event is a series of further research questions relating to the female form, marine life and performativity of the body. It also addressed the effectiveness and problematics of using practice as research as both a curatorial method for installing and working as an artist live in the context of a gallery setting, and the use of micro residencies as a methodology for practice as research. These discussions and reflections are now the basis for a series of essays and performative gestures that will form a new publication for late 2020/early 2021.
    • Kelly + Jones – The Glass Tank Solo Exhibition, CaCO3

      Jones, Rhiannon; Kelly, Traci; University of Derby; Oxford Brookes University (The Glass Tank, 2020-01-15)
      Dr Traci Kelly and Dr Rhiannon Jones’ Solo exhibition entitled CaCO3 at The Glass Tank, Oxford Brookes University presented writing as a dynamic visual and lived encounter grounded in phenomenological, feminist and post-feminist perspectives. Kelly + Jones approached the plated glass architecture of The Glass Tank exhibition space as an aquarium that would be utilised as a research lab. There was a connection between the idea of the aquarium and the materiality of chalk which is a marine-life deposit and creating the ground for a living, evolving research ecology. The works we selected for and created within the exhibition have an unsettled status, existing in the interstice of documentation, artwork and survey. They encompass photography with attention also paid to materiality of the photographic print, drawing and made and found objects distilled from ephemeral gestures and performative encounters. The research activity subverted and ruined the representation of writing in order to privilege the visceral and subjective production of the writerly and resist the hierarchy of decipherable text. Kelly + Jones predominantly employed performance and performativity as a temporal mode of making to create a series of works through video, installation, photography, sculpture and marine artefacts. This practice as research exhibition by Kelly + Jones allowed them to explore: writing as object, writing as materiality, and the process of writing through the body as the subject invention, inherent in writing a subject into being. All the works produced for the exhibition offered partial glimpses into the material world of the human and non-human body (chalk deposits from past marine life), and their relationship to writing/language. The works exist in the interstice of documentation, artwork and survey with their unsettled status placing value on the unknowing within visual culture and research-creation. The exhibition also responded to the Glass Tank as a metaphorical aquarium, holding the remnants of past marine life in the materiality of chalk whilst creating a living ecology of research.
    • Keynote: Grant Kester in conversation with Rhiannon Jones.

      Jones, Rhiannon; Nottingham Trent University (InDialogue, 2016-12-01)
      Grant Kester was invited by Rhiannon Jones to speak at InDialogue to provide an international context and framework for InDialogue delegates on the use of dialogue in both practice and research. It was designed to be a conversation between Dr Rhiannon Jones and Professor Grant Kester – which took place at Nottingham Contemporary for InDialogue 2016. It was informed by a series of pre-rehearsed conversations that included time for reflections on the previous keynote by Professor Grant Kester at InDialogue in 2014. As a foreword to this conversation, reference was made to a previous conversation between Jones and Kester at InDialogue2014, (available here https://youtu.be/QDS4c-piY0w ) and the book written by Grant Kester ‘Conversation Pieces’ (2008), in which it is stated that conversations need to continue. To this end, the conversation for 2016 was carefully curated and designed to clearly signpost the dialogic methodological approach that both researchers take up as a position - which is that conversation is iterative and an ongoing / re-informing process. The decision was made to approach this conversation as a working paper, and to structure the conversation by application of a series of research questions to create a framework to generate a discourse between them, whilst also locating it within the national and international contemporary context for dialogic practice. It engaged with the overarching enquiry of InDialogue – which asks how artists and researchers use dialogue in their practice. This was then used as a device through which their conversation provided the engaging audience, made up of artists and researchers with the opportunity to present works, develop ideas and networks and to test out ideas. Their conversation part-curated, and part improvised discussion reflected their positions taken within the field about the role and use of the dialogic. In doing so, the conversation, engaged with contemporary references as well as those set out in texts written by Grant Kester, such as Conversation Pieces (2004) and The One and the Many (2011). The dialogue that occurred between Rhiannon and Grant set out the research terms of reference for the audience online and in the room - through which InDialogue engages with critically and practically. There was a total of 150 artists and researchers engaged with the session. It also embedded InDialogue as ' the only platform I (Grant Kester), know of that provides a space for substantive international exchange on issues associated with dialogue, across the boundaries of visual art, theatre and performance studies. It provides a rare opportunity for researchers and artists in all of these disciplines to learn from each other and does a great deal to advance the critical conversation in this burgeoning field. As dialogue and participation become ever more central methods across the arts and humanities events like InDialogue will only become more important. (Grant Kester, 2016). This conversation is considered as a live research enquiry, offering a specific time and space – literally and metaphorically for reflection and the generation of conversation. Equally this position or offering is addressed during the discussion - what is exactly meant by it? What can be ascertained through its use and what dialogic reflection means to the individual practitioner? The conversation opens with remarks from Rhiannon Jones on the movement of time, “both personally and professionally, certainly a lot has changed within the arts and academic communities world wide. So, what does that mean for us all on a day-to-day basis? How does this affect dialogically engaged practice research and where do we see this discipline heading over the forthcoming years? “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) And Rhiannon continues by saying that “in speaking we will propose more questions and provide less answers - so that the conversation can indeed continue after this keynote with one another, and within our wide arts and research communities thereafter… “(Jones, R. 2016 In Conversation with Grant Kester, InDialogue, UK) Research Questions discussed: • When is dialogue “dialogic”? • What are the core principles? As artists and researchers, often working with the public in a very visible way, I would like to ask you what do you think our core principles for public engagement should now be? • How do we assess dialogical practice in the post-Brexit/Trump moment? Following on from this… How do we reassess the role of the dialogic, is the role of the dialogic more pertinent now than ever before as we enter a new era of post Trump and Brexit? • What are the limits of dialogue? How do we confront the limits of dialogue? Are there limits? How do we assess this? What do we measure dialogic practice against? Life/society/culture? • How do we measure impact? A question on the Impact of dialogic art projects – how do we measure impact – something we are asked to demonstrate more and more, is this something we can only achieve retrospectively? How are we living in an age of measurability and accountability, do we need to embrace this or fight against it – as artists as academics? Who is measuring who? Notes: Grant Kester, Professor of Art History and the founding editor of FIELD: A Journal of Socially Engaged Art Criticism. Kester is one of the leading figures in the emerging critical dialogue around “relational” or “dialogical” art practices. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). His curatorial projects include “Unlimited Partnerships: Collaboration in Contemporary Art” at CEPA Gallery in Buffalo, New York in 2000 and “Groundworks: Environmental Collaborations in Contemporary Art” at Carnegie Mellon University in 2005. Kester's essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005). He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley. Start YouTube video at 5:07:13
    • The kites are flying

      Hunt, Ava; Maggie Ford; University of Derby (2013-05)
      A television reporter’s experience in the West Bank reveals how children’s hopes and dreams for peace can fly higher than any wall dividing communities and religions. Why won’t Said speak? Why does he make beautiful kites and let them loose in the wind? Following actor Ava Hunt and Director Maggie Ford’s recent visit filming in the West Bank, join us for this new one-woman multimedia performance, bringing this beautiful story alive with laughter, thrills and tears to a land where friendship has no barriers.
    • L'uomo che dialogava con il coyote: una breve incursione sul tema «Joseph Beuys e sciamanesimo»

      Nicoletti, Martino; University of Derby, School of Art and Design (Edizioni Exòrma - Roma, 2011)
    • Land matters

      James, Jeremy; O'Connor, Denis (2012)
      An illustrated catalogue documenting a site specific sculpture project based at Ilam Park, Staffordshire, England in 2012
    • Layered Realities and the Narration of History

      Marc, Bosward; University of Derby (QUAD/ FORMAT, 2019-03-15)
      The paper will present practice research that explores the intersection of collage, found footage film, animation, documentary and critical realism. The practice investigates digital compositing, hybridity and the capacity for spatial layering to generate an intermediate, unstable aesthetic that can’t be assigned to any singular, unitary ontological level. The paper argues that these conditions provoke an elasticity and ambiguity that dissolves binary distinctions between the subjective and objective, reflecting the non-dualist standpoint of critical realism at a medial point between positivist and idealist perspectives. The research deploys the particular plurality of collage as a disruption to ideologically conditioned appearance forms (Leslie, 2015). This posits the practice as a challenge to reductive accounts of the socio-historical world in dominant visual cultures. The paper claims that in contrast to unmediated live action images, collage has the potential to more adequately describe the complexity and contingency of reality. This emphasizes the non-empirical factors that play a role in how we produce and negotiate historical narratives (Skoller, 2005). In response to the invariable presence of narrativization (White, 1987) and the impossibility of objectivity in documentary production (Winston, 1995), the explicit construction of the collage aesthetic is deployed to address the gaps and ambiguities of historical discourse. This aims to work against the suppression of ambiguity present in orthodox documentary, a process that Michael Chanan (2008) has called ‘structuring absences’. From this perspective, the history inscribed in found footage is explored with the intention of uncovering and foregrounding aspects of the past that have been marginalised or forgotten. The paper asks if a deeper understanding of history can be apprehended through the construction and mediation offered by the vocabularies of found footage and collage film.