Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

Care homes’ use of medicines study: prevalence, causes and potential harm of medication errors in care homes for older people

Introduction: Care home residents are at particular risk from medication errors, and our objective was to determine the prevalence and potential harm of prescribing, monitoring, dispensing and administration errors in UK care homes, and to identify their causes. Methods: A prospective study of a random sample of residents within a purposive sample of homes in three areas. Errors were identified by patient interview, note review, observation of practice and examination of dispensed items. Causes were understood by observation and from theoretically framed interviews with home staff, doctors and pharmacists. Potential harm from errors was assessed by expert judgement. Results: The 256 residents recruited in 55 homes were taking a mean of 8.0 medicines. One hundred and seventy-eight (69.5%) of residents had one or more errors. The mean number per resident was 1.9 errors. The mean potential harm from prescribing, monitoring, administration and dispensing errors was 2.6, 3.7, 2.1 and 2.0 (0 = no harm, 10 = death), respectively. Contributing factors from the 89 interviews included doctors who were not accessible, did not know the residents and lacked information in homes when prescribing; home staff’s high workload, lack of medicines training and drug round interruptions; lack of team work among home, practice and pharmacy; inefficient ordering systems; inaccurate medicine records and prevalence of verbal communication; and difficult to fill (and check) medication administration systems. Conclusions: That two thirds of residents were exposed to one or more medication errors is of concern. The will to improve exists, but there is a lack of overall responsibility. Action is required from all concerned.

Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick

Garfield produces a critique of neo-minimalist art practice by demonstrating how the artist Melanie Jackson’s Some things you are not allowed to send around the world (2003 and 2006) and the experimental film-maker Vivienne Dick’s Liberty’s booty (1980) – neither of which can be said to be about feeling ‘at home’ in the world, be it as a resident or as a nomad – examine global humanity through multi-positionality, excess and contingency, and thereby begin to articulate a new cosmopolitan relationship with the local – or, rather, with many different localities – in one and the same maximalist sweep of the work. ‘Maximalism’ in Garfield’s coinage signifies an excessive overloading (through editing, collage, and the sheer density of the range of the material) that enables the viewer to insert themselves into the narrative of the work. In the art of both Jackson and Dick Garfield detects a refusal to know or to judge the world; instead, there is an attempt to incorporate the complexities of its full range into the singular vision of the work, challenging the viewer to identify what is at stake.

Imagining multicultural London: containment and excess in snatch

Snatch (Guy Ritchie, 2000) is a comic-book gangster film that can be seen to represent the backlash against perceived notions of political correctness in what is effectively a public-schoolboy fantasy of working-class life in East London. However, the film also delineates the limits of this backlash in its depiction of minorities as either contained or excess. This is highlighted through the comic-book genre itself as well as the characterization. Thus this article explores the tension between the genre, representation and Jewish identity.

Negotiating the British landscape

According to many accounts, a key paradigm for understanding art in Post WWII Britain is one of Englishness versus internationalism or abstraction versus realism . These terms have a rich inflection of meanings that have been subject to interrogation over the last few decades. Anwar Shemza came to Britain and practiced his art at a time when these competing claims were at their height. In a postcolonial reading entitled “Black Diaspora Artists in Britain: Three ‘Moments’ in Post-War Britain” Stuart Hall recently used David Scott’s framework of a ‘problem space’, that is discursively defined through questions, tensions and conjunctures, that couched the entry of what he describes as first waive British commonwealth artists into critical visibility in Britain. This can be characterized in part by the reviews of WG Archer and GM Butcher, both supporters of Shemza and prominent critics of the period. Hall includes Shemza in this framework that defines the work and his aspirations as constituted through the tensions of what was perceived to be anti-colonialist aims of modernism through universalism and the ‘nativist’ current in anti-colonial nationalism . This text will focus particularly on the problematic of Landscape as a ‘problem space’ of vernacular and modernism, over here and over there. The aim is not to define Shemza within the tradition of English landscape nor to exclude him but to position him within a discursive field of landscape and modernism in mid twentieth Century art.

The Stephen Dwoskin dossier: introduction

This dossier aims to consider the contribution Stephen Dwoskin and his work made to the development of film and its infrastructure in the UK from 1964 when he arrived in the London until his death in 2012. Dwoskin not only straddled different contexts and ideologies about film but advocated for the support of work in a wide variety of forms. Because of this he was not easily categorizeable. Much of the work analyzing his camera work and his contribution to film is written in French and there is little, particularly in recent years, in English. As such this dossier constituted an important contribution to the reassessment of a singular avant-garde artist and film maker. (can I use avant garde here?) In the light of his recent death this is a timely moment for a consideration of Dwoskin’s achievements and legacy. As well as having a groundbreaking vision of what film could do, he was an influential figure and constituting force in terms of the milieu and structures that supported the independent film world in the UK for several decades. Much of the literature surrounding this world in the UK has been formed by key figures making sense of their part in history. This dossier aims towards some first steps in historicising his legacy. Two of the proposed texts will be making use of new material to conduct original research made available through the recently acquired Dwoskin Archive at University of Reading. Due to Dowksin’s heterogenous involvement in film, there are many ways in which Dwoskin can be considered and the proposed essays will take a range of perspectives to assess and analyse his contribution.

Tackling domestic violence : exploring the health service contribution

This report is one of a series of reports, which specifically reports on the findings from the evaluation of a number of domestic violence projects. The report aims to explore the health service contribution to tackling domestic violence, and draws upon the findings from four projects, which had developed and implemented interventions within a number of health settings. It places the findings from these projects in the context of the literature.

Nurses tell their stories about the art of nursing using a feminist process

Explores what the Art of Nursing was perceived to be by a group of experienced nurses as identified in stories from their practice. Feminist principles were used in the project.