The American pilgrim's way in England to homes and memorials of the founders of Virginia, the New England states and Pennsylvania,

Mode of access: Internet.

Sky View

Thesis (Master's)--University of Washington, 2016-06

The Cuala Press: Women, publishing, and the conflicted genealogies of 'feminist publishing'

The Cuala Press, a fine art press run by Elizabeth Yeats around Dublin during the first half of the twentieth century, has long been recognised amongst scholars of Irish literature and history. But the press has been analysed almost exclusively through the interpretative lenses of poet W.B. Yeats, the Yeats family, and the Irish Renaissance. The article challenges such received understandings of Cuala by considering the press as a gendered publishing enterprise: one run by a woman, employing only women, and designed to create work and economic independence for Irish working girls. Through examining the origins of Cuala, the locus of editorial power within the press, and Cuala's complexly ambivalent relationship with modernist Irish suffrage and nationalist women's networks, the article situates the post-1970 feminist publishing boom within a historical trajectory. It suggests that scholarly knowledge of women's publishing history may be crucially dependent upon the health of contemporary feminist presses. (C) 2004 Elsevier Ltd. All rights reserved.

Applying Associative Classifier PGN for Digitised Cultural Heritage Resource Discovery

Resource discovery is one of the key services in digitised cultural heritage collections. It requires intelligent mining in heterogeneous digital content as well as capabilities in large scale performance; this explains the recent advances in classification methods. Associative classifiers are convenient data mining tools used in the field of cultural heritage, by applying their possibilities to taking into account the specific combinations of the attribute values. Usually, the associative classifiers prioritize the support over the confidence. The proposed classifier PGN questions this common approach and focuses on confidence first by retaining only 100% confidence rules. The classification tasks in the field of cultural heritage usually deal with data sets with many class labels. This variety is caused by the richness of accumulated culture during the centuries. Comparisons of classifier PGN with other classifiers, such as OneR, JRip and J48, show the competitiveness of PGN in recognizing multi-class datasets on collections of masterpieces from different West and East European Fine Art authors and movements.

The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan

For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.^ Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.^ The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education. ^

Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper’s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss’s well-known framework for assessing sculpture in 1960s.

Modern British Sculpture Catalogue

From Leighton to Lucas this fascinating book explores sculpture in Britain from the end of the Victorian era to the dawn of the new millennium. With incisive essays, and previously unpublished archive material, this compelling book documents the seismic shifts in sculpture in the last century. Edited by Penelope Curtis (former Curator of the Henry Moore Institute, now Director of the Tate Britain) and Keith Wilson (Sculptor, tutor at the Royal College of Art and Reader in Fine Art at University of Westminster).

Still Life

'Still Life'is a six page feature in Frieze Magazine on Sarah Jones's practice which took the form of a conversation between the New York based fiction writer A.M.Homes and Jones. This was a conversation that had begun when A.M. Homes invited Jones to spend some time at Yaddo Artist's Colony in upstate New York firstly in 2006 and secondly as The Meredith Moody Fellow in 2008. Homes also wrote a short story in response to Jones' photographs for The National Media Museum's Archive publication (2007/8). This text was commissioned by the museum as part of Jones' solo exhibition at the conclusion of her tenure as the museum's Photography Felllow. Jones and Homes were invited by Frieze to formalise their correspondence for publication. The interview in Frieze magazine was edited by Jennifer Higgie from a taped conversation between Jones and Homes, made during a visit by Jones to New York to meet Homes in early 2008. The feature includes several full colour reproductions of Jones' work alongside the conversation.

Negligent Eye

This presentation was both an illustrated lecture and a published paper presented at the IMPACT 9 Conference Printmaking in the Post-Print Age, Hangzhou China 2015. It was an extension of the exhibition catalogue essay for the Bluecoat Gallery Exhibition of the same name. In 2014 I curated an exhibition The Negligent Eye at the Bluecoat Gallery in Liverpool as the result of longstanding interest in scanning and 3D printing and the role of these in changing the field of Print within Fine Art Practice. In the aftermath of curatingshow I have continued to reflect on this material with reference to the writings of Vilém Flusser and Hito Steyerl. The work in the exhibition came from a wide range of artists of all generations most of whom are not explicitly located within Printmaking. Whilst some work did not use any scanning technology at all, a shared fascination with the particular translating device of the systematizing ‘eye’ of a scanning digital video camera, flatbed or medical scanner was expressed by all the work in the show. Through writing this paper I aim to extend my own understanding of questions, which arose from the juxtapositions of work and the production of the accompanying catalogue. The show developed in dialogue with curators Bryan Biggs and Sarah-Jane Parsons of the Bluecoat Gallery who sent a series of questions about scanning to participating artists. In reflecting upon their answers I will extend the discussions begun in the process of this research. A kind of created attention deficit disorder seems to operate on us all today to make and distribute images and information at speed. What value do ways of making which require slow looking or intensive material explorations have in this accelerated system? What model of the world is being constructed by the drive to simulated realities toward ever-greater resolution, so called high definition? How are our perceptions of reality being altered by the world-view presented in the smooth colourful ever morphing simulations that surround us? The limitations of digital technology are often a starting point for artists to reflect on our relationship to real-world fragility. I will be looking at practices where tactility or dimensionality in a form of hard copy engages with these questions using examples from the exhibition. Artists included in the show were: Cory Arcangel, Christiane Baumgartner, Thomas Bewick, Jyll Bradley, Maurice Carlin, Helen Chadwick, Susan Collins, Conroy/Sanderson, Nicky Coutts, Elizabeth Gossling, Beatrice Haines, Juneau Projects, Laura Maloney, Bob Matthews, London Fieldworks (with the participation of Gustav Metzger), Marilène Oliver, Flora Parrott, South Atlantic Souvenirs, Imogen Stidworthy, Jo Stockham, Wolfgang Tillmans, Alessa Tinne, Michael Wegerer, Rachel Whiteread, Jane and Louise Wilson. Scanning, Art, Technology, Copy, Materiality.

Vitamin P3 – Oscar Murillo; Yelena Popova

Slyce has contributed entries for the artists Oscar Murillo and Yelena Popova to this forthcoming publication in the series. As well as a contributing writer to the series, Slyce also nominated artists for inclusion representing new perspectives in painting to the series editors.

Future Print Story

Research trip for 5 academics associated with the RCA to give talks and convene workshops at Tokyo University of the Arts and Kyoto City University of the Arts.

Unlearning

Keynote speaker for a one day symposium in Fine Art and Photography at De Montfort University, Leicester. The symposium looked at research as a rigorous process of investigation leading to new knowledge. It was aimed at visual arts practitioners wanting to account for their practices as forms of research. Two key questions were addressed: 1. How can arts practitioners account for the rigour of the methods they use in practice? 2. To what kinds of knowledge can their practices lead? Coutts' keynote looked at the concept of 'Unlearning' used by Marie Luisa Knott to explore what Hannah Arendt first had to do in order to rethink the atrocities carried out by the Nazis in the 20th Century. To be able to think anew means also to find a means for undoing what has previously been thought. Coutts looked to Arendt amongst other thinkers and artists, and used examples from within her own practice, to reflect on rigour in research and methods for legitimising a range of visual practices.

Printmare Against Nature

Nicky Coutts showed a work in the show "Printmare: Against Nature 1", reproducing a miniature storm scene from a Scottish five pound note and an essay titled "Animal Print Suicide" for the accompanying publication "Printmare Against Nature 2". Curated by Finlay Taylor, ‘Against Nature’ was an exhibition exploring conditions of current understandings of geography (or the geo-graphical), natural histories and landscapes. This exhibition concentrated on work that uses print, and the ways in which subtle innovations in this medium are used to investigate some of the complexities that arise when looking at nature in art. An associated publication has been published by Camberwell Press with essays by David Cross and Nicky Coutts, as well as page images by Bob Matthews, Denis Masi, Finlay Taylor, Kate Scrivener and Dick Jewell. Exhibiting artists included Franz Ackermann, Jasone Miranda Bilbao, Sarah Bodman, Ian Brown, Helen Chadwick, Paul Coldwell, Cornford and Cross, Nicky Coutts, Dunhill & O’Brien, Adam Gillam, Oona Grimes, Judith Goddard, Mark Harris, Katsushika Hokusai, Dan Howard-Birt, Susan Johanknecht, James Keith, Serena Korda, Michael Landy, Jo Love, Mike Marshall, Bob Matthews, Julian Opie, Tim O’Riley, Simon Patterson, David Rayson, Rebecca Salter, Kate Scrivener, Jo Stockham, and Herman de Vries.

Vertigo Rising

Sole-authored publication. Five essays on fear of space, irrational gravities and falling, based on the writings of Flusser, Kafka and the Capek brothers. 'Vertigo Rising' was commissioned as a parallel text to accompany a show of the same name at Five Years, (a London Gallery located in a high rise block).