Now showing items 21-40 of 177

    • Victoria Lucas lay of the land: landscape and other stories.

      McCloskey, Paula; University of Derby (Airspace gallery., 2017-05)
      A critical essay exploring the themes in Victoria Lucas' exhibition 'The lay of the land and other stories'.
    • Border field/apparatuses.

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (Field conditions., 2019-01)
      Through both our trans-disciplinary practice and one specific project based in and across the Irish border with the UK, we discover, occupy and create (alternate) field conditions of various kinds. Our practice,a place of their own,draws together different bodies of knowledge, experience and practice; art, architecture, urbanism, philosophy, fictioning, family to create new imaginaries and cartographies of the border. The Eile Project is a visual art/research project that uses the subjective, spatial and political concept of borders/bordering to respond to some immediate political/environmental challenges, and is sited on the geo-political border between Ireland and the UK. Paula is from Ballyshannon, grew up between Ballyshannon and Enniskillen (as well in England), and has traversed the Irish border across her life. This border condition has renewed prominence within the maligned ‘Brexit’ negotiations. Border field conditions are densely woven with multiple infrastructures, policies, practices and rituals that interconnect in complex configurations; infrastructural systems such as the long- disused Ulster Canal, and the daily practices of local farmers negotiate the border through dynamic interplays of formal procedure and autonomous, creative and resistant practices. The border field condition is partly determined by various technologies and spaces of security and control; of the monitoring and restricting of movement and of various bodies. Yet it is also the site of many existing and potential spatial, social and relational re-imaginings. We will consider the border field conditions as explored through the Eile Project, and specifically discuss the potentialities of these field configurations through the notion of territorial-apparatuses, which might become the starting point for alternative forms of spatial practice. "When apparatuses shift, they can change history across spacetime (quantum erasure). Apparatuses are not only what has been traditionally understood as the mechanical parts of a system of measurement (Barad, 1998, p. 101-2). They include systems of thinking, objects, spatio-temporal properties, people and more-than-people; they are extremely localized. Apparatuses are phenomena."1 The field conditions (both mapped and created) through the Eile Project are therefore those that, by opening to and involving the earth, human and non-human actors, the organic and in- organic, permit new cartographies, territories and modes of collective practice. 1 Whitney Stark, “Assembled BodiesReconfiguring Quantum Identities,” The Minnesota Review 2017, no. 88 (May 1, 2017): 69–82,
    • Emilie Taylor's beating the bounds: a citical essay.

      McCloskey, Paula; University of Derby (Bosse and Baum Gallery., 2018-11)
      A critical essay of Emilie Taylor's 'Beating the Bounds' exhibition exploring materiality and maternity.
    • A place of their own.

      McCloskey, Paula; University of Derby (Spirit Duplicator., 2018-06)
      This chapter critically explores the research practice of collaborative art and spatial research practice 'a place of their own', which was co-founded by Paula McCloskey and Sam Vardy and their four children. The whole 'Multivoices in research' book features researchers working across art, architecture, ethnography and creative writing discussing how multiple voices are activated and hosted in their work. Edited by Jon Orlek and designed by Jon Cannon, each copy is unique and contains a performance by Vulpes Vulpes.
    • In conversation: Mary Kelly speaks to Paula McCloskey.

      McCloskey, Paula; University of Derby (2012-01-01)
      Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took place in February 2011 at the Whitworth Gallery, Manchester, surrounded by a large selection of her work during the Mary Kelly: Projects, 1973-2010 exhibition. Kelly’s oeuvre is undoubtedly diverse and progressive, but it is also coherent and interconnected. During our dialogue, Kelly reflected on her approach to art-making; making links between her works, connecting her projects across time and space. What follows is a hybrid text containing extracts of the conversation with Kelly and some observations made after reading the full transcript. The overall piece contemplates the connections across Kelly’s work and specifically draws attention to the place of the mother and child in her projects.
    • Post-Partum Document and Affect

      McCloskey, Paula; University of Derby (Paula McCloskey, 2013-01-01)
      This paper aims to add a different inflection to the already expansive range of commentary and writing on one of the most well known artworks of the last forty years created by a female artist exploring the mother-child relation: Mary Kelly's Post-Partum Document (1973-1979 hereafter PPD). It does this by exploring the place of affect in PPD and in so doing reflects on it as a complex assemblage, a monument and potentially a place where things happen. In order to analyse PPD's asignifying aspects the paper invokes the thinking of Lisa Baraitser in her book Maternal Encounters: The Ethics of Interruption, as well as aspects of Bracha Ettinger's theory of the matrixial.
    • The potentiality of encounters: a response to Lisa Baraitser’s maternal encounters.

      McCloskey, Paula; University of Sheffield (Taylor and Francis., 2012-06-07)
      This article is a response to Lisa Baraitser’s Maternal Encounters: The Ethics of Interruption (2009). It focuses on the concept of encounter as part of an emerging subjectivity or a subjectivity in production. By putting Baraitser’s maternal encounters alongside art encounters the discussion starts to open up thinking on the different potential ways for humans to be interrupted and the implications of such potential subjective and ethical awakenings in this late capitalist contemporary era.
    • Drawing-through maternal subjectivity

      McCloskey, Paula; University of Sheffield (2014)
      These drawings were part of my PhD thesis, Art, Maternal and Matrixial Encounters, (2013, University of Sheffield). Ten years before I completed the PhD research I saw the art-practice of French born artist Louise Bourgeois.1 I had come across her work before, but this time it was different. This time something happened. Viewing the work had an effect on me that I had not experienced before. I was drawn to the images and moved by them. I was mesmerised by the sensations that beholding the work was able to ignite in me. I was a newly single mother in my mid-twenties when this happened. I was in the midst of a traumatic time in my trajectory, a time where I felt lonely and lost. Louise Bourgeois' work was something I felt connected to, it made me feel differently about myself and my situation. Over time, I would come to think and refer to this happening as an encounter, it being an event that marked a tipping point in life. This encounter with Louise Bourgeois' oeuvre, this event that catalysed change is the starting point for this research. Maternity is a theme that runs through Bourgeois' oeuvre. Along with some other pieces, I felt a strange connection to these modest, enigmatic drawings. I experienced an intensity, but of what, I was not so sure. It was not a feeling I could name, but it was something that I felt on/in my body, that led me to seek out more of Bourgeois' work, her sculptures, installation, paintings, textiles and so on. The feelings, the intensity, the sensations all worked in a way that was new and exciting. I could not let go of this 'happening'. I wanted to understand it, make sense of it and learn from it. At the time of this early encounter with Bourgeois' oeuvre I was in a distraught post-natal state3, I felt that Bourgeois', art in a complex way that I did not understand, connected to my maternity. The complex connection to my maternity, both in terms of the reference to the maternal in the images and to how they made me feel is an important aspect of how I experienced Bourgeois' practice from the outset. When I first started to contemplate what this experience, this happening, might be, thinking of it as an encounter – an art encounter. At the time I was ignorant of this concept's use in philosophical and psychoanalytic texts that I would later discover and use when I embarked on this research. I started reflecting on my experience as an encounter, because when I discovered the work of Louise Bourgeois it constituted an unexpected event that I would credit with catalysing a turning point in my life. Once I started this research my understanding of encounter changed, as did my understanding of the encounter I experienced with the practice of Louise Bourgeois. Following the encounter with Bourgeois' art I read about, (among other uses of the concept of encounters) art encounters in the work of Simon O'Sullivan4 and maternal encounters in the work of Lisa Baraitser5, which explore ideas and thinking that art encounters and maternal encounters respectively can potentially have a transformative affect/effect on subjectivity. Both of these books, along with others, which will be explored in the main text, informed how I came to think of the term encounter. The point of raising their use and influence at this stage is to alert the reader to the use specifically of the term art-encounter from the outset as stemming from my initial tacit use of the term encounter to think of my experience of the work of Louise Bourgeois, which would later be informed by reading around art and other encounters. I use it then to literally describe this experience, as well as exploring what an art-encounter is in more general terms as I work-through my art-encounter throughout this thesis. This research is one outcome of a process of contemplation that I engaged in to try and understand and make sense of this art-encounter. My art-encounter is thus not only used to locate the origins of this research; it is also invoked as a heuristic device to explore encounters beyond the scope of my art-encounter experience. This exploration continues to use my art-encounter, in part, as a case-study to consider, in the first instance, art-encounters' possible capacity for subjective transformation. Part of the contemplation of my art-encounter, which will be explored in more detail in different places throughout this thesis, was a consideration of the place of my maternal experience in the naming of the art-encounter with the work of Louise Bourgeois. The investigation into my art-encounter thus involves a teasing out of the place of maternal experience in this encounter; and, once again, using this experience, or the contemplation of this experience as a heuristic device within this research. In the process of deciphering the place of my maternal experience in the conditions and causes of my art-encounter I explore the potential of using traumatic maternal experience as a site of knowledge in and of itself. The process of inquiry into my art-encounter, and exploration of the place of my maternal experience in this encounter works towards revealing some insight into the conditions and characteristics of possible subjectivising encounters. This short narrative serves to introduce the research and provides some explanation for the two research questions, below, in terms of the issues embedded into the first, and then to the issues explored through the second: How can we understand an art-encounter's capacity for subjective transformation? When the invocation of traumatic maternal experience is explored as site of knowledge in the context of an art-encounter, what new insights might emerge into the conditions and characteristics of potentially subjectivising encounters? In addition to the exploring the work of Louise Bourgeois, other art and writing on the maternal and written personal reflections on maternal and art as encounters, as part of this research I also looked back to other post-art-encounter activity. Sometime in the post-art-encounter with Louise Bourgeois time I started to draw. I drew every day for a year – tiny black-ink scrawly drawings held in a series of small lined notebooks. The compulsion to do this ritualistic daily practice emanated from a desire to work-through some of the difficult senses, feelings, emotions, thoughts I had that were part of, or which I associated with, my maternity which is hinted at in the written reflections above. The drawings were concerned with exploring those parts of my maternity that I could not access in the writing of others or by writing myself or in the art of others – the pain I experienced that I thought was my own. This exhibition of the drawings are accompanied by a written article further exploring the research.
    • Photograph: Dr Paula McCloskey presenting her lecture art, maternal and matrixial encounters at the Mother Voices midsummer eve's potlach and the launch of the Mother Voices foundation.

      McCloskey, Paula; University of Derby (2014-07-21)
      Art, Maternal and Matrixial Encounters: was an invited talk I gave in Rotterdam, NL at the Witte de With Center for Contemporary Art event with (m)Other voices. This research explores the research question below. It forms part of the ongoing iterative research which weaves through my arts practice and art writing. This research is located in my PhD research Art, Maternal and Matrixial Encounters (University of Sheffield, 2014). Working with maternity as a thinking apparatus and as integral to my practice is manifested in the collaborative arts practice ‘a place of their own’ (see link), and various distributed pieces of writing, talks and art projects. The concept of the matrixial recurs in this work, referring to artist and psychoanalyst Bracha Ettingers’ matrixial theory which explores the lasting legacy of the intrauterine encounter between the I (foetus in late stages of pregnancy) and non I (pregnant woman). Throughout this work the research question is: if maternity is taken to be a thinking apparatus, a concept, an encounter, as well as a lived experience what insights and new knowledge might emerge from arts practice and art writing that explores the complex entanglements of ‘maternity’ (in its broadest sense) and art?
    • Reflections on belongings and becomings; art, maternity and family activism.

      McCloskey, Paula; university of Derby (2017-05)
      An invited artist talk entitled 'Reflections on Belongings and Becomings; Art, Maternity and Family Activism' as part of AirSpace Gallery Soup kitchen Artist Talks. Here I talked about the entanglement of Art, Maternity and Activism, returning to the research questions: If maternity is taken to be a thinking apparatus, a concept, an encounter, as well as a lived experience what new insights might emerge from arts practice and art writing that explores the complex entanglements of ‘maternity’ (in its broadest sense) and art? as well as Can the 'family' be a site of resistance to dominant ideologies and of imagining collective alternative futures, through different kinds of collectivity, by thinking beyond 'family' to kinship/more than human/non-biologically based conceptions?
    • Art and maternal subjectivity: an ongoing relation

      McCloskey, Paula; University of Derby (M/other voices, 2015-04-20)
      Art and maternal subjectivity: an ongoing relation’ is an online journal column I wrote for M/other voices organisation in Rotterdam, NL following an artist talk I gave in July 2014. Both research events explore the research question below. They form part of the ongoing iterative research which weaves through my arts practice and art writing on Art, Maternal and Matrixial Encounters. This research is located in my PhD research Art, Maternal and Matrixial Encounters (University of Sheffield, 2014). Working with maternity as a thinking apparatus and as integral to my practice is manifested in the collaborative arts practice ‘a place of their own’ (see separate Udora handle and website link), and various distributed pieces of writing, talks and art projects. The concept of the matrixial recurs in this work, referring to artist and psychoanalyst Bracha Ettingers’ matrixial theory which explores the lasting legacy of the intrauterine encounter between the I (foetus in late stages of pregnancy) and non I (pregnant woman). Throughout this work the research question is: if maternity is taken to be a thinking apparatus, a concept, an encounter, as well as a lived experience what insights and new knowledge might emerge from arts practice and art writing that explores the complex entanglements of ‘maternity’ (in its broadest sense) and art?
    • The Eile project experiment 5

      McCloskey, Paula; Vardy, Sam; University of Derby; Sheffield Hallam University (2018-04)
      The Eile Project is an ongoing investigation of borders using art research methods. The research aims to investigate border subjectivities, border-linking/making; territorial fictioning, based in, across, and about the geopolitical border between Ireland and the UK. It uses multimedia visual art research that uses the subjective, spatial, political and imaginative, yet highly contested, concept of borders/bordering to respond to some of the immediate political and environmental challenges of our time. The Eile Project takes places on the contested UK border which crosses the island of Ireland dividing the land into the Republic of Ireland and Northern Ireland. The investigation seeks to generate new ways of thinking of this border through the creation a new aesthetics generated mainly through site-specific performance acts by the character ‘Eile’. Through performative gestures using a range of materials Eile intervenes into this geopolitical border scene to develop a border-fictioning. ‘Eile’ is a creature of the border who has been summoned to interact with buildings, different species, the bogs, rivers, flora and fauna, caves, mountains and so on against the unfolding socio-political drama of this border, which at present takes the form of ‘Brexit’ (but previously has had many other iterations, such as ‘The Troubles’). This work has its roots in Paula’s family history. Paula’s family are from Ballyshannon, County Donegal, a small border town in the Republic of Ireland. Her mother was brought up in an Irish Protestant family and her father as Irish Catholic. Paula was born in 1975 at the height of the so-called ‘Troubles’ and during her childhood lived in England, Northern Ireland and the Republic of Ireland, regularly traversing the border. This brings a particular ‘situated knowledge’ (knowing as partial and located, and generated through interactions, Donna Haraway) to this border research practice, which is used in when Paula performs ‘Eile’ on the border-sites. This relates to experiment 5 which took place on the border site of Slieve Rushen. Slieve Rushen is a mountain which traverses the border between County Cavan in the Republic of Ireland and County Fermanagh in Northern Ireland. The mountain is made up of grey limestone with a cap of sandstone and shales and is extensively quarried by local companies. The bog surface is mostly covered with peat, pine forests and grazing fields. The mountain contains several caves and swallow-holes including Pollnagollum (Slieve Rushen) and Tory Hole. More recently it has become home to Slieve Rushen Wind Farm and is a protected area of the National Park.
    • Family activist network performance photograph.

      McCloskey, Paula; University of Derby (2014-01)
      FAN is a group of 35 or so adults (academics and artists) and children, based across the UK (Cambridge, Chichester, Edinburgh, Lincoln, Liverpool, London, Norwich and Sheffield). FAN was formed to consider family life and climate change through a variety of art activist formats. Since its formation in 2014 FAN have exchanged slow mail correspondence, created a reading group This Changes Everything (Naomi Klein 2015), held recruitment events (Two Degrees festival, Artsadmin, London 2015), protested together (Time to Act, London, 2015; D12 Redlines in Paris for COP21, 2015), engaged in creating family performances showcase (Plas Caerdeon, Wales 2016), commissioned a science lecture about James Watt and the onset of Anthropocene Epoch (Glasgow Green, 2016), engaged in a themed discussion on Future Scenarios (2016), visited the site of the Happisburgh footprints, created Photo Books of FAN encounters (2015 – ongoing) and debated on FAN email list (2015 – ongoing). 'a place of their own' has been a member of FAN since 2014 and participated in all its performances and events, please see website links for more information.
    • Family Entanglements

      McCloskey, Paula; Vardy, Sam; University of Derby (2018-11-02)
      ‘Family Entanglements’: As the collaborative arts practice ‘a place of their own’ we were invited to deliver a performance 'Lab' at the Social Art Summit – an Artists-led 2-day conference Sheffield, 1, 2 November 2018. For this Art Council funded conference, over two-days artists from around the country, as well as international speakers came together to share practice, showcase work and explore what it means to be making art through social engagement right now. As one of 8 ‘labs’ we ran a session called ‘Family Entanglements’, the invitation for participants read as follows: ‘As a reflection of their own family practice they will facilitate collective activities based around string games and Cat's Cradle, whereby delegates will explore critical themes including: Radicality in the family and your practice; home as a site of arts practice; maternity as practice; alternative futures, new intergenerational relations and making different forms of kinship. The lab sought explore the research questions of ‘how living with and raising children might offer ways to think about alternative futures in the face of economic, social and environmental crisis? and how the 'family' might be a site of resistance to dominant ideologies?’
    • Paula McCloskey’ in Loveless, N.S. Contemporary Mamactivist Artists: A Forum on Maternal Activist Art for the Studies in the Maternal Special Issue on The Everyday Maternal Practice: Activist Structures in Creative Work, Summer 2016

      McCloskey, Paula; University of Nottingham (Open Library of Humanities, 2016-12-15)
      This special forum for Studies in the Maternal asks fourteen activist-mother-artists, or “mamactivists”, to respond to the following questions: (1) When and why did you start making activist/political work on the maternal? (2) What reception/reaction did you receive for the work? (3) What is the latest activist/political work you have made on the maternal? (4) What shifts do you see from this first work to this last work? and (5) Why is the maternal, in your opinion, important to activist, engaged, political art today? Responses highlight a range of geographic and cultural perspectives, as well as artistic strategies. One commonality between them is that they take the maternal not as a biological facticity, but a rich feminist site of political intervention.
    • Birth shock: exploring pregnancy, birth and the transition to motherhood using participatory arts.

      Hogan, Susan; Baker, Charley; Cornish, Shelagh; McCloskey, Paula; Watts, Lisa; University of Derby (Demeter Press, 2015-09)
      Natal Signs: Cultural Representations of Pregnancy, Birth and Parenting explores some of the ways in which reproductive experiences are taken up in the rich arena of cultural production. The chapters in this collection pose questions, unsettle assumptions, and generate broad imaginative spaces for thinking about representation of pregnancy, birth, and parenting. They demonstrate the ways in which practices of consuming and using representations carry within them the productive forces of creation. Bringing together an eclectic and vibrant range of perspectives, this collection offers readers the possibility to rethink and reimagine the diverse meanings and practices of representations of these significant life events. Engaging theoretical reflection and creative image making, the contributors explore a broad range of cultural signs with a focus on challenging authoritative representations in a manner that seeks to reveal rather than conceal the insistently problematic and contestable nature of image culture. Natal Signs gathers an exciting set of critically engaged voices to reflect on some of life’s most meaningful moments in ways that affirm natality as the renewed promise of possibility.
    • Experiences and impact of mistreatment and obstetric violence on women during childbearing: a systematic review protocol.

      Mcgarry, Julie; Hinsliff-Smith, Kathryn; Watts, Kim; McCloskey, Paula; Evans, Catrin; University of Nottingham; King's College London (JBI Database of Systematic Reviews and Implementation Reports., 2017-03)
      The aim of this review is to synthesize the best available evidence on the experiences of mistreatment and/or obstetric violence in women. Specifically, the objective is to explore, from a woman's point of view, the impacts and consequences of mistreatment and/or obstetric violence during childbearing. The review question is: "What are the experiences and impact of mistreatment and obstetric violence on women during the active period of childbearing?"
    • Defining contributions: inspiration driving original research.

      Abbas, Jabbar; Blood, Kate; Coulbert, Esme; Dallabona, Alice; Gamble, Rebecca; Roddis, Melissa; Silcock, Neil; Wijetunge, Nishan; Nottingham Trent University (Nottingham Trent University, 2012)
      Defining Contributions: Inspiration Driving Original Research was a postgraduate conference held at Nottingham Trent University on 18th May 2012. This conference was part of the Research Practice Course (RPC) in which students engage with research methods, theories and philosophies alongside their individual PhD research. This conference was organised by the third year students, papers were given by the second year students, and posters were presented by the first year students. This conference also included a paper from guest speaker Julius Ayodeji and was open for attendees from across the University. Publishing articles and presenting conference papers is an important component of any PhD programme. In view of this, the aim of this conference was to provide students with the opportunity to present a piece of useful material linked to their research in front of an audience within the friendly framework of the University, before embarking on the wider world of national and international conferences and publishing. This conference encouraged new multi-disciplinary papers about the originality, motivations, inspirations and contributions of students research.
    • The artistry of conversation.

      Jones, Rhiannon; Nottingham Trent University (2016-05-01)
      This thesis proposes a new way of thinking about conversation as a methodology and argues that conversation itself can be considered as an art practice. The practice research has been developed through a body of five artworks produced between 2012-14, each of which directly engaged with communities and residents of the city of Nottingham, UK, and emerged in relation to the specificity of this location. The doctoral research has been presented within the international contexts of art and social science through several seminars and conferences, including the researcher's co-founding and co-curation of InDialogue (2012 – present), a biannual interdisciplinary symposium. The research engages with existing work on conversation and the dialogic by Allan Kaprow, David Bohm, Mikhail Bakhtin, Grant H. Kester and Hubert Hermans, from which it develops a socio-artistic and philosophical framework to theoretically underpin a body of dialogic practice. For the purpose of this thesis, PhD stands for Practice in High Definition: the body of work produced has been tested and analysed to develop an original methodology, which has been termed APSSL, to describe its five key features: architactics, performativity, storyteller, social activism and legacy. The thesis sets out the framework for a performative and experiential approach, providing examples of the orchestration of space and the dialogic architectures of site and body. Conversation is considered as a methodological producer and as the instigator of practice. Aesthetic in approach, the methodology is recognised for its socializing power in terms of generating the opportunity for a public presentation of self and other, and for the mobility of voices in spaces. It establishes that there can be an artistry of conversation.
    • Documents, alternatives - a symposium of artistic process and practice.

      Bartram, Angela; University of Derby (2018-04-20)
      The documentation of ephemeral artwork, works made to be transient, changeable and un-fixed, is often problematic for the intent and premise of creation as it aligns itself with a particular moment, place and viewpoint in time. Lens-based methods are mostly relied upon to communicate actuality and happening and to fix the un-fixed memory of the artwork, and this is part of that problem. Effectively, this type of documentary device works in opposition to the concept of the artwork, cementing into a fragmentary history when all it wants is to be fleeting in its temporality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. This is problematic for artwork whose very premise is to be transient and time-based, and for which direct experience is a priority. ‘Documents, Alternatives (#3)’ is an exhibition that includes time-based works that rely on performative process and created experience, which aims to resolve this issue by making the document and artwork reflexive. In doing this it acknowledges their need for change so that they remain continuous and in process through staging a practical and thought provoking visual discussion. The symposium accompanies this exhibition at BSAD, and acts in response to process with artistic practice and the experience of the artwork. It situates a series of opportunities for the experience of process through a structure of colloquialism adjacent to the exhibition, to open the nature of artistic process to critical debate. To enable a dialogue about process (as that exhibited and that discussed) informed by both academic and creative domains, symposium speakers are the artists with work in the accompanying exhibition. Hosted by the Art Research Centre, Bath School of Art and Design BSAD Gallery and BSAD main Lecture theatre. The symposium is staged simultaneously with the exhibition Documents, Alternatives (#3) at BSAD gallery, which is open to the public 20th April – 1st May 2018. The exhibition and symposium are part of the Alternative Document, a project by Dr. Angela Bartram, Associate Professor and Head of Arts Research, at University of Derby.