"Playing the role of scientist, [Thomas] Allen enlists mid 20th-century books on the natural phenomenon of science(astronomy, physics, electricity, biology) and presents his research as if through the eyes of his 8-year old daughter. How would she understand and portray these theories and absolutes of science?
Allen's signature use of cutting and repurposing book illustrations has not vanished. Instead of the pulp fiction genre, Allen plays with 50's era versions of clean cut youths and domesticated moms. His unmistakable talent for creating the illusion of 3D in photography with his deft cuts and crimps, establishes a magical world in which a boy and girl play tag creating their own kind of electricity, a milkman makes a very special delivery in space, young toughs play marbles with the solar system and a mother busily sews her own version of 'string theory.'"
(Foley Gallery, 2012, New York NY)
Fig.1 Bearings, 2012. Fig.2 Eclipsed, 2012.
"The National Centre for Craft & Design sits at the heart of the market town of Sleaford in Lincolnshire in the beautiful riverside setting of Navigation Wharf. It is the largest venue in England entirely dedicated to the exhibition, celebration and promotion of contemporary and international craft and design.
We do not have a permanent collection, providing instead a seasonal programme of dynamic exhibitions ranging from international to innovative new work created by local and regional artists shown across our four diverse gallery spaces."
(The National Centre for Craft & Design, UK)
Fig.1 Claire Morgan (2011). "Gone To Seed", Exhibited at About Time, Hub: National Centre for Craft and Design, Lincolnshire, UK.
Bill "Viola's The Greeting is pretending to be a picture, hanging on the wall of the National Gallery, as part of 'The Passions' exhibition in 2003. The context of the gallery space and the badging of The Greeting as a picture give the work something different, making it more than just a film. The significance is in the context of where it is shown and the pretence occurring that this is a picture. Indeed, when walking downstairs in the National Gallery towards 'The Passions' exhibition, it is seeing it hanging on the wall that strikes immediately; I am being invited to believe that this animated film is pretending to be a picture. The analogy is of the picture becoming an actor, pretending to be something else. In terms of form, The Greeting is a film. Therefore, what is it that makes it now defined as an exhibition, a part of Viola's 'The Passions' in 2003? It is only the fact that it's part of a gallery that makes it an exhibition, although in reality it is also actors directed by a video artist into this film, slowed down and with no sound, which is pretending to be a painting. Therefore, it is conceptual art, in that what the artist is doing is not just making a painting, or having the idea for a painting, but having the idea of where it should be staged. The inscribed text of the space in which it is viewed makes a difference to what the viewer or spectator sees, and what is going on."
(Alison Oddey, 2007, p.70)
Fig.1 Bill Viola (1995). "The Greeting".
Fig.2 Jacopo Carucci da Pontormo "The Visitation".
3). Alison Oddey (2007). "Re-Framing". In: "Re-Framing the Theatrical", Palgrave Macmillan. 1-21.
"Simply select a museum from the homepage and then either choose 'Explore the museum' or 'View Artwork'. Once you are in the main site use the drop-down menus or the side info bar to navigate between artworks and museums. Finally create and share your own collections online."
Fig.1 Art Project - Visitor Guide, Google.
Fig.2 Art Project - Behind the Scenes, Google.
Fig.3 Portrait of Fedor Dostoyevsky, Vasily Perov
Fig.4 navigate the Uffizi Gallery via the Google Art Project
"Research at Nottingham Trent University takes place in all our Schools, in all our subjects- from Art to Zoology. Alongside the reports, books, papers, keynote talks that you might expect, many times our researchers produce things as well as words. These might be: art works; 3D designs; visualisations of scientific insights; fashion; images produced from ethnography; film and theatre production; costume designs and more.
We think of it as something like a gallery, except without walls, or with just one, a virtual wall - hence the name. Each three months or so there is a new show to see, carefully curated round the work of one researcher or a small group. The variety of our work means that an exhibition of interactive art work might be followed by one about the visualisation of nano particles, or on the ancient architecture of Oman.
Wall5 is a way to show how these things articulate with the knowledge our researchers generate and let us demonstrate the full spectrum of what we produce.
Wall5 launched in November 2010. As each show is replaced it will appear in an archive section, so if you like what you see you can check back later. Also, look out for WALL5 groups on social media sites for updates on the exhibition programme."
(Nottingham Trent University)
Fig.1 Jed Hoyland 'Silence/Stillness/ Arrangements'