Tonight! In Conversation: Lucy Reynolds & Sarah Neely on ‘A Feminist Chorus’

MAPLUCY REYNOLDS: A FEMINIST CHORUS, APRIL—NOVEMBER 2014
A FEMINIST CHORUS FILM INSTALLATION, 7 NOV—7 DEC, PLATFORM, GLASGOW
TALK: SARAH NEELY + LUCY REYNOLDS, TUE 25 NOV, 6—7.30PM, GLASGOW WOMEN’S LIBRARY

Find out more about Lucy’s use of Glasgow School of Art’s archives on our previous post

And Now, The BBC Genome Project

Issue from 1935: Image courtesy of the BBC Genome Project Website

Issue from 1935: Image courtesy of the BBC Genome Website

Recently the BBC have launched an exciting online project that catalogues the listings information printed in the BBC Radio Times from 1923 to 2009. Created by the BBC Archive Development in conjunction with BBC Research and Development, each page of the Radio Times since 1923 have been scanned and processed through optical character recognition systematically  to extract information – such as the title, time of showing, synopsis, contributors and so on – automatically.

Issue from 1943: Image courtesy of the BBC Genome Project Website

Issue from 1943: Image courtesy of the BBC Genome Website

Beginning in November 1922 the British Broadcasting Company published its first Radio Times on the 28th September 1923 after  the Newspaper Publisher’s Associated refused to print the BBC programme details without payment for the advertising. Since then, the Radio Times has continually published the BBC listings missing only 8 issues in its lifetime. Documenting the changes in programming, and the shifting dynamic between TV and radio this resource provides a useful starting point to investigate the role of media and the history of a publication so widely used and known in Britain.

Issue from 1968: Image courtesy of the BBC Genome Project Website

Issue from 1968: Image courtesy of the BBC Genome Website

As optical character recognition can only accomplish so much the project is giving users the opportunity to edit, correct and add to existing entries with information that may not have been included in the listing generally (for example, if a programme was cancelled or relpaced) in order to create a far more comprehensive and contextualised record.

Issue from 1994: Image courtesy of the BBC Genome Project Website

Issue from 1994: Image courtesy of the BBC Genome Website

Interestingly the addition of information by external users has become a popular method of gathering data that may simply not be held within the record, and of highlighting resources in different ways to make them more accessible to researchers. This can be seen in the recent project by the National Archives, Operation War Diarythat was launched this January to mark the centenary of the First World War (Operation War Diary – you archive needs you!), a project that encourages users to tag the data they discover within the entries, such as names, dates and places in order to make it easier for subsequent users to find.

Issue from 2007: Image courtesy of the BBC Genome Website

Issue from 2007: Image courtesy of the BBC Genome Website

Find the BBC Genome project here and see if you recognise any of these issues!

The Anchor Line Ltd

The recent opening of the Anchor Line Restaurant at 12-16 Vincent Place is a wonderful example of current organisations utilising the unique materials of an archive to inform the creation of something new. Taking inspiration from the archive of the Anchor Line Ltd held by the University of Glasgow, the Di Maggio group has opened a restaurant that reflects the history of this company and the building.

University of Glasgow Library

In August, Archive Services were contacted by the Di Maggio’s Group who were restoring the Anchor Building at 12-14 St Vincent Street in Glasgow. The Anchor Building was designed by James Miller and had been built in 1905-07 as offices for the Anchor Line Ltd, a shipping company.

Brochure for the Anchor Building Brochure for the Anchor Building, c.1908 (Ref: UGD255/1/38/1/5)

The Anchor Line Ltd had its beginnings in 1838 when two brothers, Nicol and Robert Handyside, established themselves in Glasgow, Scotland, as shipbrokers and merchants. In 1856 it ran its first transatlantic crossing and by the twentieth century it ran regular transatlantic crossings, Mediterranean cruises and passenger sailings to India and Pakistan. The company had distinctive Scottish roots and was famous for its sleek ships and for the comfort it offered its travellers at a very affordable cost.

At Archive Services we hold the business records for the Anchor Line Ltd which include series of records such as advertising…

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Artists using Archives: Seamus Nolan, more adventurous thinking…

The National College of Art and Design Gallery (NCAD Gallery) and The National Irish Visual Arts Library (NIVAL) are delighted to present the exhibition ‘more adventurous thinking…’ from the archive of Dorothy Walker, with artist response from Seamus Nolan.

Dorothy Walker with a work by Patrick Ireland c.1990

Dorothy Walker (1929 – 2002) was a dynamic and influential art critic and author who played a central role in many of the most significant events in Irish visual art in the second half of the 20th century. During her active life she kept an archive, recently bequeathed to the National Irish Visual Arts Library, Dublin. The archive charts the scope and diversity of her interests and is essential information for the understanding of Modernism in the context of the visual arts in Ireland.

Earlier this year NIVAL were fortunate to be awarded a grant from the Department of Arts, Heritage and the Gaeltacht under the recently launched Philanthropy Initiative specifically to create an online catalogue devoted to the Dorothy Walker Archive. Without this funding it would not be possible for the Library to dedicate time in cataloguing this wonderful resource and subsequently could not celebrate her archive through exhibition at NCAD Gallery.

NIVAL has begun the development of this online catalogue of the collection that will provide an overview of the material, identifying key events and personalities, and establish a chronology of the documentation. The collection documents her involvement with institutions and projects such as Rosc, Guinness-Peat Aviation Awards, the Irish Museum of Modern Art (IMMA) and the International Association of Art Critics (IACA), and with artists such as Brian O’Doherty, Patrick Scott, Sean Scully, Ciaran Lennon James Coleman, Eileen Gray, Joseph Beuys and poet Seamus Heaney.

In response to the Dorothy Walker archive, visual artist Seamus Nolan engages select works of art of the early modernist period in the context of NCAD Gallery. Private collectors and museums are approached by way of written invitation to consider the compatibility of these works of art within this contemporary gallery structure. The Gallery is subjected to the standards and processes applicable to the exhibition and handling of museum objects through detailed measurement of the environmental conditions; specifically humidity, temperature, light and ultra violet levels.

The National Irish Visual Arts Library is a partnership project of the National College of Art and Design and the Arts Council of Ireland.

For further information see the event website, or contact:
Anne Kelly, Curatorial Coordinator, NCAD Gallery, 01.636.4390
Donna Romano, Acting Head Librarian, NCAD Library, 01.636.4347

The National College of Art and Design Gallery, 100 Thomas Street, Dublin 8. 

NCAD Gallery opening hours are 1pm-5pm, Monday-Friday. The exhibition continues until Friday, 20th September 2013.

Final programme for “Giving up the Archive?” study day announced

We now have a final programme for ‘Giving up the Archive?’ study day on 1 July examining the archives of arts organisations – see details and information on bookings below:

Giving up the archive?

Reflections on the creation, examination and dissemination of arts organisations’ archives.

1 July 2013, White Cube Gallery, Bermondsey SE1 3TQ

Many arts organisations are interested in locating and exploring their archival heritage. What are the driving forces behind this interest? How much archive material survives, where and in what condition? What can archives tell us about the history of these organisations and how important are they to their contemporary activities? This study day aims to explore these questions, providing reflections and case studies from academics, curators, artists and archivists.

Organised by ARLIS\UK & Ireland in partnership with The Glasgow School of Art and Glasgow’s Centre for Contemporary Art.  Supported by funding from the Arts and Humanities Research Council.

10.30-11.00 Coffee and registration

11.00-11.20 Welcome: ARLIS

Introduction to the morning session: Dr Dominic Paterson (Chair)

Dr Dominic Paterson works at the University of Glasgow where he teaches 20th and 21st century art and theory.  He wrote his doctoral thesis on the place of aesthetics in the work of French philosopher Michel Foucault, and his research interests include critical theory as well as modern and contemporary art.   Dominic organised and introduced a series of talks and film screening events as part of the Glasgow International Festival of Visual Art , which expanded upon the Festival’s theme of ‘past, present, future’. Including artists Susan Phillipsz, Gerard Byrne and Jimmie Durham.

http://www.gla.ac.uk/schools/cca/staff/dominicpaterson/

11.20-11.50 Stories from the archive: Dr Francis McKee

Francis McKee will examine the process of archiving both the Third Eye and CCA material in Glasgow which ranges from 1973 to the present. He will look in particular at the discovery and digitisation of 150 video tapes from the early 1970s and how they transform our understanding of that period in terms of Scottish and British video art history. Following on from this he will look at the wider understanding the archives give us of the development of contemporary UK art over the past 40 years and the genesis of the national and international networks that enabled this growth.

http://www.gsa.ac.uk/research/supervisors-plus-students/primary-supervisors/m/mckee-francis/

11.50-12.20 The artist’s voice : Ross Sinclair

http://www.gsa.ac.uk/research/supervisors-plus-students/primary-supervisors/s/sinclair-ross/

Working in Glasgow and internationally as a practicing artist, Ross Sinclair has utilised sculpture, video, painting and text to interrogate how different formal approaches can contribute to the construction and dissemination of meaning and the paradigm of art practice in context in relation to audience. Sinclair is currently looking back on the development the dynamic and critically respected art scene in Glasgow over the past twenty five years through the methodology of interviews with his artist peers.  A selection of extracts with artists such as Martin Boyce, Susan Philipz and Douglas Gordon will be screened for the first time, alongside a reflection of Sinclair findings during his research.

“What lies at the heart of any situation, any scene, any place, any history, any geography, any relationship? How do we come to understand it? What elements have inexorably bound together to form it’s essential core and how can we begin to unravel it, dissect analyse and contextualise the meaning? Is this Miracle-ism to be seen in relation to what came before…and what happened after – and what is happening now, and what might develop in the future…?”

12.20-13.00 Keynote: Gerard Byrne, Case Study: Loch Ness (Some possibilities and problems)

Revisiting and reanimating historical moments to be considered in the present, Gerard Byrne’s work has been exhibited at Documenta 13, the 54th Venice Biennale, and in previous Sydney, Gwangju, Lyon, and Istanbul biennales. Recent solo exhibitions include Whitechapel Art Gallery, London, 2013, Gulbenkian Foundation, Lisbon, 2012, IMMA, Dublin, the Renaissance Society, Chicago (2011), and at the 2007 Venice Biennale, where he represented Ireland.  In 2006 he was a recipient of the Paul Hamlyn award. He is represented by the Lisson Gallery in London, Green on Red Gallery in Dublin, and Nordenhake Gallery, Stockholm. He has been a professor at the Royal Danish Academy for Fine Art since 2007.

13.00-14.00 Lunch

14.00-14.10 Introduction to the afternoon session: Dr Julie Bacon (Chair)

Julie Louise Bacon’s research focuses on the relationship between: aesthetics and politics, art and philosophy, technology and consciousness, mythologies and archiving.  Julie Louise has curated wide-ranging events including: the art and network technology symposium SIGNAL (La Chambre Blanche, Quebec, 2012); the public art symposium The Clearing (London, 2010) ;the five-part AHRC conference and exhibition series Performing the Archive (sites throughout the UK, 2006-07), the Fix performance biennial (Catalyst Arts, Belfast, 2004), The Suicide of Objects (Catalyst Arts/The Ulster Museum, Belfast, 2004).

http://www.kent.ac.uk/arts/staff-profiles/profiles/fine_art/j-l-bacon.html

14.10-14.40 Archiving new media:  Beryl Graham

CRUMB is a resource for curators of new media art, and includes a web site and a discussion list with over 1300 international subscribers. How can such ‘crowd-sourced’ knowledge be digested and re-presented? Given that many art forms and archives are participatory, including new media systems, how might audience-generated archives reflect a future ‘history of exhibitions’? Beryl Graham is co-editor of CRUMB, co-author with Sarah Cook of the MIT book “Rethinking Curating”, and recently edited a book on “New Collecting” for Ashgate Press.

www.crumbweb.org

14.40-15.10 Documenting the visual arts in Ireland: Donna Romano

Donna Romano is Acting Librarian at the National College of Art & Design Ireland, which is home  to The National Irish Visual Arts Library (NIVAL), a public research resource dedicated to the documentation of 20th century and contemporary Irish visual art and design.  NIVAL collects, stores and makes accessible for research an unparalleled collection of documentation about Irish art in all media.  NIVAL’s collection policy includes Irish visual art from the whole island as well as Irish art abroad and non-Irish artists working in Ireland.   Information is acquired on artists, designers, galleries, arts organisations and institutions, critics and other related subjects.

http://www.nival.ie/

15.10-15.40 Shared archives: Marysia Lewandowska

Marysia Lewandowska is a Polish born artist based in London since 1985 who, through her collaborative projects, has explored the public function of media archives, collections and exhibitions in an age characterized by relentless privatization. She has been collaborating with Neil Cummings 1995-2008. Research has played a central part in all her projects which include the book The Value of Things (Birkhauser/August 2000), Capital at Tate Modern (2001). Enthusiasm project has been shown at the CCA Warsaw, Whitechapel,London, Kunst Werke in Berlin and Tapies Foundation Barcelona in 2005-2006. The film Museum Futures: Distributed Moderna Museet in Stockholm in 2008, and Tender Museum at the Muzeum Sztuki, Lodz, 2009. Intellectual Property was a subject of How Public is the Public Museum? Moderna Museet, Stockholm 2010.  Since 2003 she is a Professor of Art in the Public Realm at Konstfack in Stockholm.

www.marysialewandowska.com

15.40-16.10 Panel discussion (afternoon’s speakers including key note)

16.10       Drinks reception

 

When: 1 July 2013, 10am-4pm approx.

Cost:

ARLIS members £75

ARLIS students £43

Non-ARLIS £90

Non-ARLIS student £53

Email the giving_up_the_archive_booking_form to bookings.art@gmail.com or post to Lorraine Blackman, ARLIS Administrator, GSA Event, Victoria and Albert Museum, Cromwell Road, London, SW7 2RL.

Refreshments will be provided during the day: a drinks reception will be provided after the event, please indicate in your booking email if you do not wish to attend.