• Entries on the L word and true blood.

      Forde, Teresa; University of Derby (Syracuse University Press., 2018-11-13)
      Entires on the finales of television series: The L word and True Blood as part of a collection on finales.
    • Dogs and the elderly: the significance of end of life interspecies companionship.

      Bartram, Angela; University of Derby (2018-11-05)
      We seek comfort from other beings, which in the absence of opportunities to communicate with other humans often finds a solution in relationships with the dogs. Walter Benjamin said “…no single dog is physically or temperamentally like another,” and they bring this individuality to the co-dependence that is living with humans, an interspecies domesticity based on mutual physical and emotional need. The positivity for health of a life with dogs is particularly relevant to the elderly, those who may feel isolated and emotionally vulnerable due to illness, infirmity or being housebound. Their canine companion becomes the energy for life alleviating depression and isolation, creating instead a sense of usefulness to another. Although sharing one’s life with a dog gives purpose and comfort, it also brings anxieties regarding care and separation should that relationship change or cease. For the elderly, this specifically concerns being mindful and worried of the dog’s fate should they enter managed housing or care facilities, or if separated by illness or death. The ‘burden’ they would leave in this situation often sees the elderly intentionally deny homing another dog should theirs die, thus inflicting a self-imposed loneliness. This decision increases sadness and isolation, often with elevated levels of depression becoming a consequence. This illustrated presentation discusses this dilemma through the lens of the social art project ‘Dogs and the Elderly,’ which analyses the significance and benefit of companion relationships towards the end of life. Working with participants from the Alzheimer’s Society’s Memory Café’s in Nottingham, the project analyses the importance of the interspecies relationships for physical and emotional health and wellbeing. Participants, who are interviewed and photographed in their homes with their dogs, discuss their current and past interspecies companions, offering equally heart-warming and heart-breaking accounts as discussions move to a lonelier and dog-free life when their current companion becomes their last. The fear of burden and lack of being able to ensure safe care of a beloved dog once they cannot prescribes a self-imposed loneliness, one where it seems better to know they will not commit a dog to an unknown future than to benefit from their friendship now. The presentation was delivered as part of ARC Artistic Research Forum, De Nieuwe Regentes, The Hague, 5th November 2018.
    • The Alternative Document

      Bartram, Angela; University of Derby (Taylor & Francis, 2018-11)
      A guest edited volume by Angela Bartram. Contents: Introduction, by Angela Bartram; Absence makes the heart grow fonder: rethinking intentional material loss in temporary art, by Sophie C. Kromholz; The Italic I – between liveness and the lens, by Emma Cocker and Clare Thornton; I am here – you are there: let’s meet sometime, by Andrew Pepper; HOW – Heathrow Orchard Walks, observations and explorations of vibrant land, by Kate Corder; Documentation with the result of its own performing, by Una Lee; Constructions of the moving body: drawing and dancing, by Rochelle Haley; WRITING/ PAINTING/READING/DRAWING: something not yet, and yet, still something, by Steve Dutton; (Mythologies of) diving, flying and in-between, by Louise K. Wilson; A sense of becoming and alienation: the retrospective in the work of Jordan McKenzie, by Angela Bartram.
    • Twofoldness/threefoldness: Marc Lüders' photopicturen.

      Robinson, Carl; University of Derby (Levy Gallery Hamburg and VG Bild-Kunst, Bonn., 2018-11)
      My essay 'Twofoldness/Threefoldness: Marc Lüders' Photopicturen' used as the text accompanying Marc Lüders' exhibition - 'Marc Lüders/Twofoldness' at the Levy Gallery, Hamburg in November 2018.
    • Opening up the debate: Irish radio, Facebook, and the creation of transnational cultural public spheres.

      McMahon, Daithi; University of Derby (Transcript Verlag, 2018-10-02)
      Radio has become an increasingly digitised medium in recent years with a growing online presence becoming ever more integral to the medium’s output and identity. Furthermore, it has become integral to radio stations’ audience recruitment and retention strategies. While radio has long been a platform for on-air public debate and discourse, the limitations of technology always meant that only a limited number of listeners could take part. The largest social network site, Facebook, now provides the infrastructure for public spheres to exist online which means a much wider audience can participate and contribute to discussions and debates including the extensive Irish diaspora – which has grown significantly as a cohort since 2008 due to mass emigration – making it a transnational phenomenon. Using the Irish radio industry and Radio Kerry as a case study this research found that although some instances of traditional Habermasian public spheres exist on radio station Facebook pages, such instances were very limited. Instead audiences are participating in what closely resemble cultural public spheres (McGuigan 2005) where the topics of discussion are of a cultural, social or emotional nature, eschewing debates on current affairs/public issues. This chapter looks at the use of Facebook for audience recruitment and retention from an Irish context and within that is focused on the local commercial radio station Radio Kerry. The methodology included textual analysis of Facebook page content, interviews with industry professionals, an audience survey and one in-depth interview with an audience member.
    • Stratified realities: convergence and mediation in non-fiction collage film.

      Bosward, Marc; University of Derby (2018-09-07)
      Positivist thinking has been highly influential on the development of documentary film in the English-speaking world. Brian Winston (1995) argues that this is explained by the perception of the camera as a scientific instrument that provides the facility to deliver an unmediated reality intact to the viewer. This conceit has been central to documentary production in the English speaking cannon, underpinning the truth claims of direct cinema and its observational, objective ethos. In contrast, Documentary filmmakers such as Adam Curtis and Joshua Oppenheimer, working within strategies that openly embrace the synthesis of documentary with experimental and fictional practice, have suggested that the language of non-fiction must develop new tools for adequately addressing the heterogeneity and plurality of the social world. This implies that the complexity of unequal relations determining social forces cannot be adequately described by conventional documentary representation, particularly those conventions tied to tenets of objectivity and balance. The research aims to address this need by developing non-fictional collage as a method for interrogating the mechanisms that shape the social world. The project’s practical methodology emphasises fabrication, simultaneity and layering as tools with the potential to extend the vocabulary of documentary film. The paper will present a body of 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 cannot be assigned to any singular, unitary ontological level. The paper argues that these conditions provoke an elasticity and ambiguity that dissolves binary distinctions between mimesis and abstraction, reflecting the non-dualist standpoint of critical realism at a medial point between positivist and idealist perspectives. The research deploys the particular constructedness and intermediality of collage as a disruption to ideologically conditioned appearance forms. This posits the practice as a challenge to reductive accounts of the socio-historical world in dominant visual cultures under capitalism. The paper claims that in contrast to unmediated live action images, the hybridity of collage has the potential to more adequately describe the complexity and contingency of reality. The paper explores the layered composite of colliding images as the locus of collage as political discourse. This lies in its facility to surpass the limitations of the monovalent image through the dialectical tension of simultaneity and coexistence. The capacity of collage to describe the interdependence and complexity of socio-historical phenomena is underpinned by the critical realist concept of stratified reality, an idea that advances an ontology comprised of co-dependent structures and mechanisms. The project draws from theoretical debates in experimental and animated documentary that assert the legitimacy of explicit construction and fabrication in non-fictional address. The paper argues that the persistence of collage lies in its continuing relevance as a process of working through and negotiating the complexity of an increasing interconnected and disorientating world.
    • PaintingDigitalPhotography: Synthesis and difference in the age of media equivalence.

      Hilliard, John; Honlold, Astrid; Robinson, Carl; Rosenstein, Tatiana; Rushton, Stephanie; Simson, Henrietta; Speidel, Klaus; Walker, Jame Faure; Weir, Catherine M; Wooldridge, Duncan; Wright, Mark; University of Derby (Cambridge Scholars Publishing, 2018-09-01)
      We live in a digital age where the mediums of art are inextricably bound to the binary code, and painting and photography are redefined in their interconnected relationship through digital reconfiguration. As digitisation unmoors these mediums from their traditional supports, their modes of production, display and dissemination shift. These changes bring about new ways of creating, and engaging with, artworks. Through this, the innate qualities of the mediums, previously anchored in their analogue nature, are re-evaluated through their connection with “the digital”. Born out of the PaintingDigitalPhotography conference, held at QUAD Derby, UK, in May 2017, this anthology of essays investigates aspects of interconnectivity between painting, digital and photography in contemporary art practices. It contributes to critical discourses around networks of associations by examining where syntheses occur, and differences remain, between these mediums at the beginning of the twenty first century.
    • A sense of becoming and alienation: the retrospective in the work of Jordan McKenzie.

      Bartram, Angela; University of Derby; School of Arts, College of Arts, Humanities and Education, University of Derby, Derby, UK (Taylor and Francis, 2018-08-15)
      The act of art retrospective, specifically that placed within a museum or gallery, is to reflect on, and give knowledge of something past. Retroactive in its overview of an artist’s practice, it is inherently backwards facing rather than future focused. As an act that specifies finiteness and conclusion, a living artist’s retrospective produces an ananomaly. In 2016, I simultaneously staged the Alternative Document symposium and exhibition. This included Retrospective 2027 by Jordan McKenzie, an event set in the future and staged by a living artist. Positioned as a keynote in the symposium rather than the exhibition it not only offered the retrospective as a representation of the artworks of the living, but also challenged traditional formats of structural placement. Situated within colloquialism rather than exhibition, the aim was to set it adrift from the gallery to open it to critical analysis and debate. This essay considers McKenzie’s approach to retrospective and how it differs from the conventional. Including my critical conversation with the artist, his performed, gestural and event-based approach is discussed for how it differs from the regular model of exhibition. The essay discusses the implications for the documentation of performance and the retrospective in McKenzie’s work.
    • Introduction

      Bartram, Angela; University of Derby; Arts Research Centre, University of Derby, Derby, UK (Taylor and Francis, 2018-08-15)
      This is the introduction for The Alternative Document, a special edition of Studies in Theatre and Performance edited by Angela Bartram. The edition contains essays by Angela Bartram, Emma Cocker and Clare Thornton, Kate Corder, Steve Dutton, Rochelle Haley, Sophie Kromholz, Una Lee, Andrew Pepper and Louise K. Wilson.
    • “Does that mean I have to hump Monica?”: the sexual dynamics of a human / nonhuman dog pack.

      Bartram, Angela; Hurley, Paul; University of Derby; University of Southampton (Human-Animal Studies Conference, 2018-08)
      Jacques Derrida said that animal is a name humans “have given themselves the right and the authority to give to another creature. ” This agency of naming separates human from animal, humanity from animality, despite shared behavioural traits. Sex, and sexuality and being ‘in sex’ remind us of animal (in the human and the non-human) primal drives. The genitals reference ‘sex’ (as site, as pleasure, anatomically), and locate where dogs are ‘in heat.’ Dog or human, the heat of sexual enhancement is a force that ignites a biological drive at the expense of cognate sensibilities. It makes us animal, in spite of our species. What does is it to be ‘in heat,’ in the heat of the moment and subject to the impulses of another (species)? Be Your Dog, an interspecies collaborative project at KARST (2016), sees human and dog companions learn the others behaviours and establish empathy. Here, the dogs led the humans (astray) in performative interactions, including those of inter-gender experiences of neutered/intact and sexually receptive/non sexually interested, and a sexually ripe and ‘on heat’ female. This paper, a scripted conversation between Paul Hurley (Be Your Dog, participant) and Angela Bartram (organiser), analyses the investment of sexual tensions brought by the ‘in heat’ canine participant in the group, and her effect on the other dogs and humans.
    • Teaching an old dog new tricks.

      Bartram, Angela; University of Derby (2018-07-15)
      At a recent animal studies conference I noticed that although discussions were of the subjects being sentient and cognate, the delivery was for humans. Essentially, animals have no opportunity to understand the theories written about them. For the past year I have been reading animal theory to dogs, cats and horses and now it is time for a lecture for dogs and their humans about dogs in art. ‘Teaching an Old Dog New Tricks’ is a different type of lecture for an interspecies audience and extended ‘pack’.
    • Ephemeral art and documenting the un-documentable.

      Bartram, Angela; University of Derby (2018-07-06)
      Concerned with the ephemeral and how it is perceived when lost to the fractures of time, Peggy Phelan suggests “you have to be there.” Phelan states that ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? Archival devices are however, problematic, for how do we suitably record the remains of these artworks that, by their very premise, deny longevity and fixity? This paper interrogates the critical, sensitive and individualized distance necessary when capturing ephemeral artwork to allow it to remain true to intent. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain will be analysed to question if appropriate documents, with the varied and differing demands of works of art, can ever be possible. Based on artworks within ‘The Alternative Document’ exhibition (Project Space Plus, Lincoln UK, 2016, which I curated to include a collection of archival documents reconfigured as new artworks) I discuss the potential for legacy beyond formal and traditional means. Through this, I will suggest how it is possible to move beyond formal academic, artistic and museological conventions when documenting and re-staging ephemeral art.
    • Illustrating Corsica: The modernist landscape of John Minton's Time Was Away.

      Neal, Ian; University of Derby (Intellect Ltd., 2018-06)
      The article considers John Minton’s (1917–57) illustrations of landscape for the book Time Was Away: A Notebook in Corsica (1948) with an aim to recover their significance in the history of illustration. Certain illustrations are positioned as notable for their ambiguous relationship to the text. I elaborate thinking around text–image relations alongside questions concerning the cross-fertilization of fine art and illustration. In their adoption of modernist principles, Minton’s illustrations are significant in recasting the role of illustration in the artistic context of post-war Britain. In melding formalist effects with realist concerns, the illustrations raise broader matters around realism, fine art and the democratic potential of illustration. I show that in seizing on cinematic techniques, Minton offers an effectively modern response to the traditional paradigm of depth associated with landscape and thereby proffers an alternative to the Modernist paradox that a teleological development of painting is at odds with landscape.
    • Guest talk: Be your dog.

      Bartram, Angela; University of Derby (Live Art Development Agency, 2018-05-16)
      Shaun Caton’s Prancing Poodles and Preposterous Pugs is a visual tour through some of his extraordinary collection of vintage and historic photographs, and an illustrated talk exploring the animal as performer for the camera, live audience, and the collective creative imagination. Looking at bizarre photographs of animals both dead and alive, Shaun will evince their forgotten stories and pinpoint the human relationships within a performance context. Jack Tan’s Four Legs Good is a live revival of the medieval animal trials, where animals who had committed some offence were charged in court, prosecuted and defended by barristers, and sentenced in full hearings before a judge. In advance of the first sitting of the Animal Court at Compass Festival 2018 in Leeds, Jack will give a presentation about the Animal Court and offer advice to all dogs present who may have fallen foul of the law on how to bring or defend a case. Angela Bartram’s Be Your Dog explores relationships beyond the hierarchies of pet and owner in response to Donna Haraway’s concept that two companions are necessary for a functional co-species co-habitation. The project saw participants and their dogs attend workshops to learn how to establish empathy, equality and connection, and strategies for dog and human to be equals with each other and to test if it is possible to establish a non-hierarchical pack. She will talk about Be Your Dog and her other work with animals including the significance of dog/human cohabitation at the end of life, using dog walking as a way to engage community, and giving access to animal theory to animals themselves. Artist and researcher Sibylle Peters will facilitate conversations.
    • 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.
    • Revisiting the retrospective of the work of Jordan McKenzie.

      Bartram, Angela; University of Derby (2018-04-20)
      The act of art retrospective, specifically that placed within a museum or gallery, is to reflect on, and give knowledge of something past. A retroactive overview of a person’s artistic practice, the retrospective exhibition is backwards facing rather than future focused. As an act that normally specifies finiteness and conclusion a living artist’s retrospective produces an anomaly as a consequence. In 2016 I simultaneously staged the Alternative Document symposium and exhibition. This included Retrospective 2027 by Jordan McKenzie, a living artist, as a keynote performance in the symposium. Positioned as a keynote in the symposium rather than the exhibition it not only offered the retrospective as a representation of the artworks of the living, but also challenged traditional formats of structural placement. Situated within colloquialism rather than exhibition, the aim was to set it adrift from the gallery and the predominantly visual to open it to critical debate. This paper analyses an approach to retrospective that differs from the conventional, as one that is performed, gestural and event-based rather than static and exhibited in a gallery and includes my critical conversation with the artist. It asks what this means for the artwork, the documentary in performance and ephemeral practice, the archive, the exhibition and retrospective in McKenzie’s work. Presented in Documents, Alternatives: a symposium of artistic process and practice, BSAD (Bath), 20 April 2018. 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.
    • Documents, Alternatives #3

      Bartram, Angela; University of Derby (Bath School of Art and Design, Bath, 2018-04)
      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 temporarality. The lens-made recording tends to generalise vision and, by extension, it does not fully communicate the experience of ‘being there’ and present. Experience is difficult to replicate through a lens. 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’ is a collection of interlinked exhibitions that include time-based works reliant on performative process and created experience for understanding, which aim to resolve this issue by making the document and artwork reflexive. In doing this they acknowledge their need for change so to remain continuous and in process through staging a practical and thought provoking dialogue across venues. Positioned to operate at the intersection of artistic and academic domains, the project is as creatively stimulating and progressively invigorating as theoretically interrogatory and analytical. This is an experimental, discursive curatorial strategy whereby the document becomes a new artwork and the artwork becomes a new document to keep the ephemeral evolving and in transition. This is exhibition number 3 in the series. To be true to the nature of ephemera, the discursive environment that is ‘Documents Alternatives’ is curated to map a staging that is in ‘motion’ and responsive to artistic meaning and intention. Here, the artworks learn from their prior incarnations, and respond to a re- grouping with the others in the collection of ‘conversational’ exhibitions, of which they are now becoming familiar, and their own concepts to be kept very much in the present. Moving beyond traditional unsympathetic means used as sole mode of translation, it offers a more effective way of communicating the artwork by keeping it current and active, and by denying its relegation to the historic past. To do this it positions the artwork as document and new work simultaneously thereby creating a generating loop of reflexive and developing activity. The exhibitions foreground fluidity and diversity of translation and includes multiple art voices and modes of output, and the work is significantly adapted for this version from those previously staged at Airspace Gallery (Stoke on Trent, 2017) and Verge Gallery (Sydney, 2018). Artists include: Tim Etchells, Andrew Pepper, Emma Cocker and Clare Thornton, Rochelle Haley, Kate Corder, Steve Dutton, Luce Choules, Morrad + McArthur, Brazier and Free, Andrew Bracey, Louise K. Wilson, and Angela Bartram.
    • Defining the female artist: Marion Adnams and surrealism.

      Forde, Teresa; University of Derby (2018-03-07)
      Marion Adnams’ work can be placed into different periods and subject matter and curating her work involves making decisions about such criteria. But to what extent are wider grouping useful in defining an artist’s work and does placing Marion Adnams in the context of Surrealism offer any insights into her practice? The relationship of women artists to Surrealism and the female/male dichotomies within the movement will be considered in relation to the ways in which they resonate with motifs and themes within Marion Adnams’ own work. French Surrealism was largely envisaged as a collective movement, encapsulated in its British counterpart in the work of artists such as Nash and Agar, in painting, found objects and poetry, which may provide an understanding of Marion’s individual yet surrealist approach to her work.
    • Marion Adnams symposium.

      University of Derby; Derby Museum and Art Gallery; Forde, Teresa; Wood, Val; Bamford, Lucy (2018-03-07)
      A unique opportunity to further explore the life and work of Marion Adnams, including the exhibition of Marion Adnams' work and her involvement in the Midland Group, as well as broader linked themes, such as the representation of women artists.
    • Head space and Dark days.

      McNaney, Nicki; University of Derby (Broken Grey Wires, 2018-02-26)
      Broken Grey Wires is an ongoing investigation into art and mental health by developing a dialogue with leading contemporary artists. Two screen-printed illustrations,Head Space and Dark Days are included in an artist book Psycho published by Broken Grey Wires.