Archive for the ‘Research’ category

Become part of a dynamic network of fashion/textile innovators – FIRE

F.I.R.E (Fashion, Innovation, Research, Evolution) has been awarded a second round of funding from the Arts and Humanities Research Council to develop a new, online fashion research portal, which you can become part of.

FIRE news

Principal Investigator, Professor Sandy Black and the FIRE team have worked hard to evolve the platform so that it is a space where academic researchers can connect with the UK’s designer fashion industry. We have held workshops with the fashion academic and designer community to establish the needs and desires for this platform so that it is most useful and inspiring.

We would love you to get involved and sign up to FIRE when we launch – here is a selection of what the platform has to offer:

  • Find collaborators for projects and funding schemes
  • Get information on new manufacturing techniques and technology
  • Read relevant fashion research content and case studies
  • Find relevant businesses and research expertise
  • Participate in network events and workshops exclusive to FIRE

Keep an eye out in October for the new F.I.R.E online platform  – and thank you to those who have already be involved!

Fashion, Innovation, Research, Evolution (F.I.R.E) 

Become part of a dynamic network of fashion/textile innovators 

Further reading:

Call for Proposals for Colour, Emotion, Non-Figuration: John Hoyland Revisited

Kilkenny Cats 7 12 82 90 x 84 ins Acrylic on canvas sml  The John Hoyla Still from film 6 Days in September 1979  BBC

Chelsea College of Arts, University of the Arts London, is delighted to be hosting ‘Colour, Emotion, Non-Figuration: John Hoyland Revisited’ Symposium. Coinciding with a major exhibition of Hoyland’s paintings at Damien Hirst’s newly opened Newport Street Gallery, the day will explore Hoyland’s art and times, while opening his painting up to new perspectives and the peculiar pressures of the ‘expanded field’ in which art now operates. The day, scheduled for February 2016, welcomes approaches beyond the traditionally academic, and will include contributions and discussion between artists, art historians and writers.

Outlines (up to 300 words) of short presentations are invited. Presentations could focus directly on Hoyland and discuss the ideas and forces which shaped him as an artist, or they could examine contexts in which he and his contemporaries worked. We are also keen to see proposals which use Hoyland’s art to shed light on the condition of painting today, which reflect his role as an art teacher, or which respond to his position as something of an outsider or renegade in relation to the art establishment.

Submissions are invited which explore one or more of the following themes:

  • Colour and emotion in abstract art
  • Making painting and thinking painting: between sketchbook and studio
  • Materiality in sculpture and painting
  • Abstract, abstraction, non-figuration

We would like to see proposals that concisely get to the heart of their subject. They do not have to be academic, and could take the form of artist’s talks, performances or experimental events. We would also welcome proposals for group discussions. Paintings by Hoyland will be loaned by the estate, so there will be the opportunity for presentations to take place in front of the specific paintings to which they refer.

Please submit proposals to

Closing date for submissions EXTENDED: 16th November 2015

Art & Design practice-led PhD work by Hena Ali on display at CSM

Come and see Hena Ali’s ‪‎practice-led Graphic ‪Communication Design ‪PhD research displayed in the Window Gallery at ‎Central Saint Martins (Design) Degree Show Two from 24th June -28th June 2015.

This could be a good chance to get a better understanding of the beauty of Art & Design practice-led PhD’s.

Also, its could be interesting for you to see how issues can be taken as strategic design opportunities; initiating points; how collaborative practice and context/s can be taken as a sustainable design tool for designing effective systems as innovation.

‘Graphic communication design practice for sustainable social advocacy in Pakistan: Co-developing contextually responsive communication design (GCD) methodologies in culturally diverse contexts’, Hena Ali, 2015


Her PhD demonstrates the amazing potential of collaborative communication design practice to facilitate generate and enhance sustainable social engagement. The research establishes how design can effectively respond to issues as design opportunities and help sustain innovation by designing effective systems, through engagement within diverse contexts.


The PhD specifically explores how social advocacy can be made sustainable in low-literacy contexts like Pakistan by drawing on graphic communication design practice. The exploration focuses an exemplary issue of garbage disposal practices in a low-literacy low-income community of Dhok Chaudrian in Rawalpindi, Pakistan. The practice identifies and engages vernacular graphic media, collaborative design projects and local communities through graphic communication design practice, to map and co-design effective graphics-based social advocacy interventions sustainable in Pakistani context. The resulting design models and the methodology is documented as transferable communication design schema of practice applicable in diverse contexts.


Hena’s PhD work will be displayed in the Central Saint Martins (Design) Degree Show Two in the Granary Building Window Gallery , 24-28 June 2015.

Further reading

Inspired by Nature- Art & Science talk

Inspired by Nature- Biosensor research & bridging the gap to application at the Institute of Biotechnology.

Inspired by Nature- Biosensor research & bridging the gap to application at the Institute of Biotechnology.

Inspired by Nature – Biosensor Research And Bridging The Gap To Application At The Institute of Biotechnology

Talk by Dr Colin Davidson, University of Cambridge

15th June 2015, 5.30pm

CSM seminar room C303

Central Saint Martins, University of the Arts London, 1 Granary Square, London, N1C 4AA

The development of biosensors, sensors inspired by or incorporating elements from nature is a complex, multidisciplinary research field that has a huge impact on many aspects of our lives -­ but very few of even the best research ideas reach market. Dr Davidson will talk about research at the Institute of Biotechnology and how the ideas that will have the greatest impact are often the ones that consider design for application from the outset. The IoB has a track record in producing biosensors for use in a broad range of medical, industrial and consumer applications. Davidson will discuss their holographic sensors as an example of how chemistry and biology can be informed by nature and design (in this instance the wings of butterflies) for goal of commercialisation.

Colin Davidson is a Post Doctoral Biotechnology Scientist working with Professor Chris Lowe OBE, Director of the Institute of Biotechnology (IoB), Dept of Chemical Engineering & Biotechnology at the University of Cambridge. He studied at Lancaster University, Nottingham University and has developed and patented numerous technologies in microbiology, optics, physics, holography and chemistry, which have been spun out into multiple companies from the IoB.

Convener Dr Jenny Tillotson, Arts, Science and Technology Research Group, Central Saint Martins, University of the Arts London. All welcome but places are limited, so please contact Jenny Tillotson in advance

Congratulations 11 research students awarded funding in 2015-16

Miriam Ribul_Material Activism_Photography by Lydia Whitmore

Image credit: Miriam Ribul Material Activism Photography by Lydia Whitmore

We are pleased to announce that 11 UAL research degree students have been awarded funding for their research projects. 7 students were awarded funding from the Arts and Humanities Research Council (AHRC) TECHNE partnership. Through TECHNE, students are part of a collaborative engagement with 14 Partners in the cultural sector. Offering students rigorous scholarly training and opportunities with PhD students from Royal Holloway; Kingston University; Royal College of Art, London; University of Brighton; University of Roehampton, London; University of Surrey.

This creates a wider network of support and helps provide links to peers, which during a PhD can be invaluable. Partners involved in TECHNE include: National Archives; Museum of London; Culture Capital Exchange; Science Museum; Barbican; National Maritime Museum; Natural History Museum; British Film Institute; Drawing Room; Rose Theatre; English PEN; V&A Blue; Victoria & Albert Museum; Brighton Festival; Wired Sussex.

Through these, students have the opportunity to develop skills in innovation, critical thinking, risk taking, creativity and communication that are valued in academic and work contexts.

Congratulations and welcome to TECHNE funded students starting their research degrees in 2015-16:

Congratulations to 3 continuing students who were awarded TECHNE funding:

  • Eleanor Suess, Constructing the architectural moving drawing: transdisciplinary practices between architecture and artists’ film, CSM, Fine Art
    Professor Graham EllardSteven Ball
  • Miranda Garrett, Professional Female House Decorators, 1874 to 1899: an examination of their work and an evaluation of their significance in the history of British interior design, CSM, Art History
    Professor Caroline Dakers, Judy Willcocks
  • Francesca Peschier, Theatre Design in Regional Theatre: Realising the Visual at The Liverpool Everyman and Playhouse 2003 – 2015, CCW, Performance
    Professor Jane Collins, Dr Esther Armstrong

4 practice-led design studentships were awarded to research degree students at UAL by the London Doctoral Design Collaboration (LDoc) collaboration, LDoc is an AHRC-funded centre for doctoral training, a collaboration between the Royal College of Art, Kingston University and the University of Arts London.

The LDoc students benefits from network and training opportunities provided by the members and contributions of creative industry partners, which include: AEDAS; British Fashion Council; BT; London Borough of Camden Communities Division; Camira; Creativeworks London; Design Council; Designing Out Crime Association (DOCA); Ford Motor Company; Ian Ritchie Architects Limited; International Flavours and Fragrances; Microsoft Research Cambridge; Sense; Sorrell Foundation; Textile Institute; Topshop; TFL; United Nations/UNCTAD Responsible Ecosystems Sourcing Platform; V&A Museum.

Congratulations and welcome to our new LDoc Studentship holders starting in 2015-16:

  • Paola Pierri, Design and social innovation: a critical analysis exploring the encounter between these two different organisational cultures, LCC, Design
    Dr Alison Prendiville, Dr Adam Drezin (UCL)
  • Miriam Ribul, Material Activism: A practice-led enquiry into the role of design in the development of materials and its impact on their cyclability, CCW, Design
    Dr Kate GoldsworthyProfessor Carole Collet

Congratulations to 2 continuing students awarded funding:

  • Georgio Salani, Towards a taxonomy of artisanal ceramic tableware: a practice-led enquiry into qualities and values in British and Japanese pottery, CSM, Design
    Dr Matt MalpassProfessor Janet McDonnell
  • Rhian Solomom, LCF, Design, Designer Facilitator: The body as a meeting place for advancing collaborations between design and reconstructive surgical fields to enhance methods in clinical practice, Professor Jane Harris, Professor Sandy Black

Related links:

AHRC-logo-CMYK LScape            LDOC                  techne04

Tara McDowell – Pure Information: Conceptual Art at the Nova Scotia College of Art and Design

Image: John Baldessari, I Will Not Make Any More Boring Art, the Mezzanine Gallery, Nova Scotia College of Art and Design, 1-10 April 1971

Image: John Baldessari, I Will Not Make Any More Boring Art, the Mezzanine Gallery, Nova Scotia College of Art and Design, 1-10 April 1971. Courtesy NSCAD University, Gallery Archives, Mezzanine fonds.

Talk by Tara McDowell

‘Pure Information: Conceptual Art at the Nova Scotia College of Art and Design’

Tuesday 26 May, 2-4pm,

Central Saint Martins, Room D113

In 1970, the coastal Canadian city of Halifax became an unexpected hotbed of conceptual art when a small art school, the Nova Scotia College of Art and Design, threw its doors open to a number of young artists who had decided that the idea mattered more than the object. Conceptual art often took the form of instructions, so it became an ideal vehicle for experimental education. Vito Acconci, Dan Graham, Lee Lozano, Yvonne Rainer, Simone Forti, Sol LeWitt, James Lee Byers, Lucy Lippard, Robert Barry, and many others retreated to Halifax for a time, and some especially influential conceptual artworks were made there. This lecture considers the Petri dish of Halifax circa 1970, and maps the everyday terrain that structured one of the most radical moments in the history of art. Rather than an aesthetics of administration or a politics of publicity, rather than artmaking as purely dematerialized, mechanized, or philosophized, imagine conceptual art circa 1970 as a site of draft dodging, game theory experiments, acid dropping, relational psychodramas, divisions and alliances, power plays, boredom, loneliness, and isolation at the end of the world. And all this at an art school.

Tara McDowell’s paper begins with a close reading of John Baldessari’s ‘I Will Not Make Any More Boring Art’ (1-10 April 1971), which was an exhibition at the Mezzanine Gallery, a small space founded in response to David Askevold’s Projects Class, an extraordinary experiment in conceptual art as pedagogy. Overall, her research has been into NSCAD as an expanded social site of making and showing, in some ways anticipating current hybrid research projects and spaces, albeit in a looser, less programmatic way. The Mezzanine is of interest less for any one exhibition that took place there – although shows such as Lee Lozano’s ‘Infofiction’ (27 January-13 February 1971) and Vito Acconci’s ‘Accessibilities’ (1-15 December 1970) perhaps stand out – and more for its relation to other forms of practice occurring simultaneously, with visual art, performance, teaching, printmaking and the NSCAD press all testing and nurturing each other.

Tara McDowell is Associate Professor and Director of Curatorial Practice at Monash University in Melbourne, Australia. She is Editor-at-Large of The Exhibitionist, a journal on curatorial practice and exhibition making for which she served as Founding Senior Editor, now published and distributed by The MIT Press. She holds a Ph.D. in the History of Art from the University of California, Berkeley and has held curatorial appointments at the CCA Wattis Institute for Contemporary Arts in San Francisco, the San Francisco Museum of Modern Art, and the Massachusetts Museum of Contemporary Art.

Anyone interested in attending this event from outside CSM should email Lucy Steeds directly for further details:

Student Selected for Hong Kong Residency

Exhibition view of Excessive Enthusiasm: Ha Bik Chuen and the Archive as Practice, Asia Art Archive, Hong Kong, 2015. Courtesy of Asia Art Archive.

Exhibition view of Excessive Enthusiasm: Ha Bik Chuen and the Archive as Practice, Asia Art Archive, Hong Kong, 2015. Courtesy of Asia Art Archive.

Central Saint Martins has teamed up with Asia Art Archive, creating a new exhibition studies research residency in Hong Kong.

Asia Art Archive is a non-profit organisation that documents and makes accessible art from the region.

Alec Steadman, a student on our MRes Art: Exhibition Studies course, has been chosen through open competition as the first research fellow. He will travel to Hong Kong in July 2015.

Diverse artistic practices
Alec’s work looks at the diverse models of self-organisation currently being practiced and developed by artists in Asia, with a particular focus on the south-east Asian archipelago. As part of his residency, he will give a talk about this project.

Alec will be provided with flights, accommodation, a per diem and a modest honorarium.

More information:
MRes Art: Exhibition Studies

Holding it Together: Art Magazines, Then and Now

A reading of five issues of Studio International magazine by Jo Melvin (2015). Film still. Camera by Oliver Beatty

A reading of five issues of Studio International magazine by Jo Melvin (2015). Film still. Camera by Oliver Beatty

Holding it Together: Art Magazines, Then and Now

Artist Pages, Policies and Criticism

Panel discussion with Jennifer Higgie, Jason Farago and Jo Melvin (Reader in Fine Art Theory at Chelsea College of Arts), convened by Antony Hudek and Alex Sainsbury

Saturday 25 April, 3-5pm  

Jennifer Higgie (writer and co-editor of Frieze) and Jason Farago (writer and founding editor of the new art magazine Even) join Jo Melvin (curator of Five Issues of Studio International, Raven Row) to discuss some of the motivations, exasperations and ambitions behind art magazines from the 1960s to the present day, broaching such questions as: What conditions compel a magazine to get started and thrive? How do magazines create and serve networks of writers and artists? What does an editor do that a writer and curator cannot?

Presented by Raven Row at Whitechapel Gallery, to coincide with the exhibition Five Issues of Studio International at Raven Row, until 3 May.

Please click here to reserve your place via the Whitechapel Gallery website.

Tickets £8.50 full price, £6.50 concession

Whitechapel Gallery
Zilkha Auditorium
77-82 Whitechapel High Street
London, E1 7QX

The Horniman’s Hidden World

Mark Fairnington, Tyger Tyger, oil on wood painting, 35cm diameter, 2006

Mark Fairnington, Tyger Tyger, oil on wood painting, 35cm diameter, 2006

Horniman Museum project to reveal hidden taxidermy treasures with Mark Fairnington, Reader in painting at CCW.

There are now only two weeks left of the Horniman Museum’s crowd-funding project to help Mark Fairnington reveal the museum’s hidden world. If you’ve not yet donated please consider doing so, every penny counts.

Their project is to stage an exhibition of Mark Fairnington’s paintings alongside their inspiration, the Horniman Museum’s collection of hidden taxidermy treasures. These aren’t usually on display to the public but will be shown with Mark’s paintings in the strange and surreal forms that inspired his work, straight from the museum archives, and they need your help to make this happen. This week they gave followers of the project a preview of a new work by Mark, Okapi. This is a painting of the eye of a beautiful specimen which is the temporary star of the Natural History Gallery at the Horniman. You can see this fascinating painting and find out more about it on the Art Fund website.

Valerie Boulet, Head of Fundraising and Membership at the Horniman Museum, says about the project:

Supporters have the chance to own two of Mark’s beautiful eye prints of their very own,Tyger Tyger and Zebra, available only as part of this crowd-funding project. Donors receive rewards from as little as £5 and include limited-edition postcards, scarves and bags.

If we do not reach our target the exhibition will not take place. Please help make this exhibition possible by donating and sharing our message today, your help is very much appreciated.

Further information:

Donate to the project and choose your reward!

Jo Melvin, Reader at CCW curates Palindromes


Image credit: John Latham, Still and Chew invitation. Image copyright The Estate of Barry Flanagan, courtesy Bridgeman Art Library.

Palindromes looks at ’pataphysics and transactions between Barry Flanagan and John Latham, curated by CCW Reader, Jo Melvin.

2 April–17 May 2015
Opens Wed 1 April 6–9pm
Continues Thurs–Sun 12–6pm

Flat Time House, 210 Bellenden Road, London SE15 4BW

’Pataphysics provides a framework for dialogues between Barry Flanagan and John Latham. Defined by its inventor, the Symbolist poet and writer Alfred Jarry, as ‘the science of imaginary solutions’ ’pataphysics preoccupied Flanagan from the early 1960s before he enrolled on the Advanced Sculpture Course at St Martin’s School of Art in 1964. There he met John Latham, who was at that time teaching in the painting department, and discovered their shared interests; notably economic theory, linguistic systems, value systems, language structure, metaphysics, ontology and poetry. Both enjoyed serendipity and chance, which combined with a certain gnomic humour are catalysts for investigative, creative processes.

’Pataphysics is properly denoted with the apostrophe before the letter p, as if to close a previous speech mark and thus mark a metaphorical circularity, or to put it another way, an ending before a beginning. This circularity of intention is a primary characteristic of pataphysical thinking and is frequently symbolised by the spiral form. The movement is similar to the palindrome, which is a paradoxical forward-backward relationship.

This exhibition will illuminate Flanagan and Latham’s collaborative and shared concerns, beginning with the notorious Still and Chew happening, when the formalist critic Clement Greenberg’s recently published collection of essays Art and Culture was systematically chewed to a pulp in 1966. Flanagan’s catch phrase ‘examine the facts’ provides a curatorial key.

Find out more: