There’s more than one route into studying in our creative community. From Evening & Saturday Courses, to Foundation and BA courses, to research degrees, you’ll find a path through AUB that suits you. Simply select the course level you’d like to study.
The two workshops were delivered following the invitation from Bournemouth University PGCE course staff for Dr Hardie to work with PGCE students, as guest speaker/workshop facilitator regarding her object-based learning teaching and learning and research work. The session utilised in part objects from AUB MoDiP museum.
This paper examined the AUB ‘For the Love of Graphics’ exhibition in 2017 that was co-curated and the result of student-staff partnership – BA5 Graphic Design students working voluntary and undertaking extra-curricular activities working with Dr Kirsten Hardie. This paper contributes to current research towards publication on student-staff partnership.
This chapter is based on two conversations between Jelena Stojković and Sen Uesaki, archivist and lecturer at Keio University Art Centre at the time, that took place in Tokyo in 2013. It was originally conceived for the ‘Archiving on the Line: Photography, Collecting and the Web’ section of the Either / And online publishing project, a collaboration between the National Media Museum and Ph: The Photography Research Network (co-programmed for Ph by Estefani Bouza, Andrea Alves de Oliveira, Jelena Stojković and Duncan Wooldridge).
It draws parallels between the practices of digital archiving and photography, drawing on several photographic projects including photobooks Ginza Hacchō (Yoshikazu Suzuki, 1953) and Montparnasse (Andreas Gursky, 1995) and discussing such notions as contiguity and ephemera.
This is an article written in collaboration with Dr Julian Ross, a research fellow at University of Westminster and a Programmer at International Film Festival Rotterdam. The collaboration was developed within Theatre and Photography research group, co-convened by Dr Wiebke Leister (LCC) and Dr Joel Anderson (Royal Central), focusing on dialogical writing as a method of presenting research in the field.
The article focuses on Tōmatsu Shōmei’s feature NO.541 from the spring 1971 issue of the magazine Kikan shashin eizō, a record of a performance in which eight actors, a reporter and a cameraman spent 24 hours together at an undisclosed location. It addresses several themes relevant to the feature by adopting some of its main strategies, such as fragmentation and improvisation, and by reproducing several photographs and parts of the tape recording in translation.
Zine, self and micro-publishing has seen a spectacular resurgence in the last decade, with individuals within tight communities pushing the boundaries of the practice in terms of form, content and process.
This paper will examine ways in which this reinvestment of illustrative authorship has been stimulated by the iterative and performative aspects of zines, self and micro-publishing, through the discussion of varied publications’ genesis with their illustrators – including my own self-published book The House.
Presentation of paper exploring the visual representation of the Jungle Camp and its residents within the UK and French Press.
The paper explores how reportage illustration engages with identity formation of both the subject and author of the work. An updated version of the paper was presented
This paper examines notions of truth in relation to fictive modalities and discourses presented in animation and constructed imagery. Drawing upon discussion of documentary animation, it considers how constructed images utilise a range of modalities in order to position discourses and make statements about reality that can affect the audience through emotional connections.
Following this, the paper considers Lewis’ and Marie-Laure Ryan’s examination of possible worlds within literary texts. It examines how constructed images negotiate the telling of truths via truth clusters, and how the recentering of audiences in relation to the fictive worlds through those clusters allows for truth to emerge in the bridging between their world and the fictive world. The paper proceeds to question whether texts combining low modalities or high fictionality are able to present truths through a collusion between the audience and authors’ worlds. It explores this notion through an analysis of the animated films Don’t Hug Me I’m Scared and Scavengers.
Innovative Futures imagines a world where our creative community, both as individuals and as creatives, will make a real and positive difference.
Innovative Futures brought together award-winning industry speakers and students from the Arts University Bournemouth for a symposium of talks, workshops and a pop-up cinema made from straw bales.
A wide ranging exhibition at this London gallery included a new piece by Dominic Shepherd. Other artists included Florain Heinke, Kate Lyddon, Sam Jackson and Wendy Mayer.
An exhibition, curated by Dominic Shepherd, that explores the relationship of contemporary art with magic and the occult. Bringing together fourteen international artists who use the magical to explore social, political, philosophical, ecological and cultural themes.
The exhibition was supported by a series of events including a specially commissioned Palo Mayombe dance ritual.
Included in the inaugural exhibition of WIDTH OF CIRCLE gallery in Stourbridge in the Black Country.
WIDTH OF CIRCLE seeks to create a space for the curious minds to linger over areas of thought that are still open to uncertainty. Encouraging intriguing works and collaborations that explore the intangible, the mysterious and the metaphysical.
In collaboration with Richard delivered a paper at ‘Painting the new: teaching painting’ conference at the Royal Academy of Arts lecture theatre. The title of the paper was ‘Head; Heart; Hand. Painting in the Post-Digital Age.’
A future publication of the conference papers is planned.