• Death returned her to rags - Fzkke Gallery

      Dilworth, Alexe; University of Chester (2016-07-08)
      'Death returned her to rags' is a solo exhibition installed at the Fzkke Gallery, Euskirchen, Germany. It features a substantial body of work investigated through photography, print, sculpture and site-specific interventions. The work explores both the physical and mythological resonances within remote rural landscapes. The date of the show was from 8th July 2016 - 21st of August 2016.
    • Depiction as comedy and truth: women’s dress in Marie Duval’s drawings for ‘Judy’ 1869 – 1885.

      Grennan, Simon; Sabin, Roger; Waite, Julian; University of Chester, Central Saint Martins (Dressing and Undressing the Victorians Conference, University of Chester, 2015-03-01)
      This paper will present and theorise aspects of the facture and iconography of the work of pioneering female cartoonist Marie Duval, in relation to conceptions and representations of women’s dress in London in the 1860s, 1870s and 1880s. Duval’s work appeared in a variety of the cheap British penny papers and comics of the 1860s-1880s. An actress as well as a cartoonist, she lived and worked in an environment of music halls and unlicensed theatres, sensational plays, serials, novels and comic journals. Her drawing style was theatrical, untutored and introduced many techniques that only became common in much later cartooning. She drew hundreds of comic strip pages for the magazine Judy and spin-off compilations, focusing on the humour, attitudes, urbanity and poverty of the types of people she knew. Her characters’ appearance, the ways in which they shape and move themselves in her visual world, and the technically maverick style in which they were drawn, provide a range of subtle and forthright commentaries on the historic dress and behaviour of her working-class London contemporaries, in particularly women of a range of ages, occupations and financial and social situations within this immediate milieu. First, the paper will consider the extent to which the facture of Duval’s drawings articulates relationships between constraint and liberation, in the ways in which she depicts women’s dress, utilising tracing techniques and briccolage, combined with a technically untutored style of drawing. She both cues readers to comedy (emerging as dissonance in her cutting and re-inscribing of contemporaneous fashion illustrations), and depicts embodied social discourse in the form of practices (as contemporaneous truths, in her deft manipulation of misrecognition), themselves generating a system of ideas, and creating a cognitive consensus connecting particular ideas with the behaviour of specific social groups. Second, the paper will consider Duval’s use of body distortion, accumulation, diminution and exaggeration, in which her depictive techniques present women’s dress not as a produced subject but as praxis. It will examine the complex parodic relationships that she creates between readers’ cultural knowledge of action on the contemporaneous theatre stage, in the practices of stage melodrama, and her depictions of women moving through her drawn plots in ‘old fashioned’ bonnets; of their noses; of the significant, ever-changing silhouettes of the carapaces of their chin-to-ankle dresses and of their feet, for example. Parallels will be identified between these Victorian ‘innovations’ and their continued use in twenty-first century ‘current’ and neo-Victorian’visual comedy. Finally, the paper will focus on the plots of Duval’s cartoons, identifying the general anonymity of Duval’s women characters relative to the developing visual identity of a single woman character who appears throughout: Judy herself, the muse and mistress of the magazine. It will present a close reading of a single frontispiece drawing of Judy from 1884, in which Judy rides an ostrich, in order to extrapolate a description of Duval’s cartoons of contemporaneous women that brings together facture, iconography and social milieu in order to understand both the unique processes of her comedy and her ability to depict the truth.
    • 'Dispossession': time, motion and depictive regimes.

      Grennan, Simon; Miers, John; University of Chester, Central Saint Martins (Leuven University Press, 2015-05-01)
      A chapter in the edited collection "Transforming Anthony Trollope: 'Dispossession', Victorianism and 19th-century word and image."
    • Dispossession: A Novel of Few Words

      Grennan, Simon; University of Chester (Jonathan Cape (Vintage), 2015-09-01)
      A scholarly remediation of one of the later novels of Anthony Trollope.
    • Dispossession: Storyboard, Anaphora, Rhythm and Stage in a New Graphic Adaptation of Anthony Trollope’s 1878-79 Novel 'John Caldigate'.

      Grennan, Simon; University of Chester (International Association of Word and Image Studies Conference, Dundee., 2014-03-01)
      IAWIS/AIERTI Conference Dundee 2014 Session Proposal: Dr Simon Grennan, University of Chester (simon.grennan@zen.co.uk) Individual Papers Panel Session Theme: Visual Literacies / Literary Visualities (in the Digital Age) Session Title: ‘Graphic adaptation and historic literary fiction: re/vision, remediation and discovery.’ Although comic strip adaptations of historic literary fiction are commonplace, in the great majority they have been historically motivated either by pedagogy or by hagiography. The pedagogic approach assumes that narrative drawing is more accessible to children than text. The hagiographic approach assumes that the source text is an original to which adaptations must aspire by overcoming the limits imposed by their own media Increasingly, a number of comic strip adaptations of historic fiction have appeared to interrogate the process of adaptation from literary text to narrative drawing itself, turning the adaptation process into a method of enquiry into some of the central issues of both remediation, narrative drawing and historiography: the relationships between specific texts and new images and concepts of authenticity, record and narrative voice relative to history. Such approaches to the adaptation of historic novels make visible the ways in which the process of adaptation itself engenders a fuller understanding of historic texts and their production. Frequently, they visibly manipulate the reading experience through techniques of juxtaposition, anachronism and visual revision, prompting reflections upon the impact of diverse media on the practice of history, for example: Marcel Broodthaers 1969 ‘Un coup de dés jamais n’abolira le hansard’, Dino Battaglia’s adaptations of Maupassant stories and Catherine Anyango’s 2010 ‘Heart of Darkness’. This session will aim to focus in detail upon a) both the technical processes of adaptation, or the ways in which new technologies inform the development of approaches to historic texts, and b) upon the conceptual strategies and rationales of adaptors. As a related topic, it will also hope to discuss current trends in the understanding of the roles of contemporaneous illustration in historic literary fiction. The session’s central questions and consequent call for papers will focus upon i) comic strip adaptation’s rationalisation of visual equivalents for literary narrative voices, ii) upon the influence of moving image conventions on storyboards, points of view, pace and information management and iii) upon conceptions of time revealed in contemporary adaptations of nineteenth century novels in particular. Confirmed individual presenters: Professor Jan Baetens (KU Leuven) Dr Simon Grennan (Chester University) Frederik Van Dam (KU Leuven) Expressions of interest in the call for individual session papers has been made by: Emeritus Professor David Skilton (Cardiff University) Peter Wilkins (Douglas College, Vancouver) Dr Ian Hague (Comics Forum) A further call for individual session papers will be made.
    • ‘Dispossession’: uses of encumbrance and constraint in visualising Trollope’s style, in a new graphic adaptation of his 1878-79 novel ‘John Caldigate'.

      Grennan, Simon; University of Chester (KU Leuven, 2015-09-01)
      This paper will discuss my adaptation of Anthony Trollope’s John Caldigate (1878-79) as a new graphic novel, Dispossession and its French edition Courir deux lièvres. Trollope’s writing style formalises his approach to plot, succinctly tying style to genre. In the plot of John Caldigate, the narrator both consistently avoids making definitive statements about events and character traits and avoids presenting a definitive opinion. Although Trollope eschews visual description, the continual, rhythmic presentation of one opinion after another brings about a distinctive and relatively complex spaciotopia, in which the reader feels positioned relative to the diegesis. In retinoscopic terms, this could be described simply as a spaciotopia produced by continually repeating a limited number of changes in point of view. From an analysis of Trollope’s writing style emerges the question of style in the drawn adaptation, answers to which finalise the governing constraints of its drawing style: how does Dispossession employ and/or depict equivocation in the style of its facture, distinct from the depiction of the plot? More simply, the changes made to Trollope’s plot in the adaptation emerged according to principles extrapolated from the habits of contemporary readers. The paper will explore how important plot elements or absences, significant for Trollope’s readers in the 1870s, required alteration or transformation, in order to maintain or heighten the meaning of the plot for 21st century readers: the elision of characters, changes to names, the legal process of restitution after miscarriages of justice, the significance of a straw hat and, most visibly, the presentation of new aboriginal Australian characters and the use of the Wiradjuri language. Citing both positive and critical media reviews of Courir deux lièvres from earlier this year, the paper will finally suggest that these approaches to word/image adaptation in the context of markets for graphic novels in English and French negotiate existing terrain for understanding Trollope, by bringing new habits of reading to an experience of his work and to ideas of the nineteenth century.
    • Documentation 77001^74103 Cargo Space

      Grennan, Simon; Sperandio, Christopher; University of Chester, Rice University Houston (Hardesty Art Centre, 2014-03-01)
      A book published to accompany the public touring exhibition "Documentation 77001^74103 Cargo Space" at Hardesty Arts Centre, Tulsa.
    • Double Edged Sword

      Turner, Jeremy; University of Chester (Ilex, an Imprint of Octopus Publishing Group, 2016-11-03)
      Discussion of the relationship and impact of employment in higher education on the maintenance and development of a fine art studio practice.
    • Drawing 'Dispossession': A New Graphic Adaptation of Anthony Trollope's 'John Caldigate'.

      Grennan, Simon; University of Chester (European Comic Art, 2014-09-01)
      A paper in the journal European Comic Art.
    • Drawing as situated knowing

      McGuirk, Tom; University of Chester (Research Institute in Art, Design and Society (I2ADS), Faculty of Fine Arts, University of Porto, Portugal, 2014-08)
      This paper will present drawing as a knowledge generating activity that integrates perception, action and cognition. It will do so with reference to a range of theory that champions the epistemic significance of perception in knowledge generation, with particular reference to contemporary theories of ‘situated cognition’, as well as the related work of contemporary theorists like Mark Johnson and Alva Noë. The absorption of art and design education within the broader university presents many advantages, however a principal drawback is a phenomenon the sociologist Pierre Bourdieu recognises as the exclusion of métier, that is “the material determinations of symbolic practices” – including drawing – from such “scholastic universes” (Bourdieu, 2000, p.20). This, it will be argued, is a key factor in what James Elkins describes as “the incommensurability of studio art production and university life” (Elkins, 2009, p.128). Perhaps due to its neophyte status within the university, the discipline of art and design has been remarkably ineffective in countering the negative repercussions of this phenomenon. This paper will argue that it is magnified by a tendency – as outlined by Johnson – within the mainstream of Anglo-American analytical philosophy to “retain an exclusive focus on the conceptual/propositional as the only meaning that mattered for our knowledge of the world” (Johnson, 2007, p.9). This view presents language, and textual argument in particular, as representing the ‘gold standard’ in terms of a model for knowledge generation within the university. By way of counterweight, this paper will present ‘situated cognition’, a theory indebted to both Phenomenology and American Pragmatism, both of these philosophical movements run counter to mainstream epistemology. In short this paper will, in this way, make a case for the rehabilitation of drawing as an important way of knowing.
    • Drawing in Drag by Marie Duval

      Grennan, Simon; University of Chester (Book Works, 2018-10-12)
      In the collection at Chetham’s Library, Manchester, is an illustrated novel, published in 1877.Titled The Story of a Honeymoon, the novel was written and illustrated by Charles H. Ross and Ambrose Clarke. It is a comic novel, cheaply produced, telling a titillating and amusing story of a marriage that goes fatally awry on the couple’s honeymoon. Thousands of novels like it were produced in the period, as part of the first boom in popular mass entertainments – fashion, organised sport, smoking, tourism, day tripping, romance, musical theatre, comics and magazines. This period saw the birth of modern urban cultures of working-class leisure exemplified by the industrial city of Manchester. The Story of a Honeymoon hides a compelling secret. Ambrose Clarke never existed. Rather, another illustrator was given cover by the invented name of Clarke. This was not unusual. Writers and journalists frequently used pseudonyms to create an idea of the author that was favourable for readers, as a way to increase the popularity of their work. But this isn’t the heart of the matter, nor is it the whole secret. The artist drawing as this fictional man was a woman, Marie Duval. She was an actress and cartoonist known for her reckless comedic drawing style. As one of only a handful of women cartoonists in a male publishing environment, her work was habitually disguised, emasculated, overwritten and stolen. After her death, her male collaborators took the opportunity to erase her from history. They almost succeeded. In 2017, Simon Grennan identified Duval’s work in The Story of a Honeymoon for the first time. Grennan has been instrumental in bringing Duval’s work back to public view. He is co-author of the Marie Duval Archive online and publishes widely on her work. He was energized and excited, as well as dismayed, to discover that Duval is still catalogued under her male pseudonym after all this time. On stage, Duval was popular for performing as a leading man, in crossed-dressed roles. This re-gendering was overt, a conscious performance ‘as a man’ by a woman, rather than hidden under a male identity as the cartoons were. The Victorian era, created and reinforced many societal expectations, including the performance of gender. These boundaries and the play that they encouraged, particularly in the sphere of entertainment, has a legacy and impact today in current re-evaluations of conservative gender roles with queer explorations and gender fluidity. Grennan explores this historical legacy through his contemporary Duvallian drawings. In Drawing in Drag by Marie Duval Grennan focuses on the manners and habits of twenty-first century mass leisure culture, plus its roots in the great cities of the nineteenth century. He adopts the pseudonym Marie Duval, producing drawings in drag, as a woman.
    • Drawing Style, Genre and the Destabilization of Register in a Graphic Adaptation of Trollope’s 1878 Novel John Caldigate

      Grennan, Simon; Skilton, David; University of Chester, University of Cardiff (McFarland, 2015-02-01)
      A chapter in the edited collection "Drawn from the Classics: Essays on Graphic Adaptations of Literary Works."
    • Drawing: Embodied and Situated Knowing

      McGuirk, Tom; University of Chester (NSU Press & Nordiskt Sommaruniversitet, 2015-09-03)
    • Drawing: Looking and thinking: Marks and meaning

      Renshaw, John; University of Chester (University of Chester Press, 2005)
      The catalogue of an exhibition that was the result of an invitation from the Grosvenor Museum, Chester, to John Renshaw to make a personal selection from the Museum's permanent collection of drawings and to offer his own interpretation of the range of images that he chose. The exhibition was timed to coincide with Drawing Power, a national campaign to promote the skill of drawing, which took place during October 2005. However, it is the author's belief that the significance of an image and its potential meanings reside in the mind of the person looking at it, and are not fixed. Visitors to the exhibition were therefore offered the opportunity, not only to look at the images and reflect upon them, but also to record their own impressions, and so the catalogue contains, in addition to images of the 30 chosen drawings and the author's own interpretations, dedicated spaces to accomodate personal notes and drawings.
    • Dumping the Body: graphiation as mind, mark and trace.

      Grennan, Simon; University of Chester (Seventh International Conference on Comics and Graphic Novels, 2016-06-01)
      A conference paper presented at the Seventh International Conference on Comics and Graphic Novels.
    • Duval and the Woman Employee

      Grennan, Simon; University of Chester
      This Chapter will examine aspects of the life and work of Duval as both exemplary of and, in some aspects in contradiction to, conceptions of the emerging roles of professional women in the journals and literature of the later nineteenth century. Utilising both Duval’s drawings and her historic place in the remediation culture of new serialised papers, the novel and popular theatre productions in the 1870s and 80s, the chapter will extrapolate and examine shared characteristics in the fictional women newspaper journalists Henrietta Stackpole (in James’ The Portrait of a Lady, 1881) and Elsie Bengough (in Onions’ The Beckoning Fair One, 1911). Considering the impact of class on nineteenth century gendering of professional work, first in Patmore’s iteration of the “separate spheres” of agency of men and women in The Angel in the House (1854, derived from de Toqueville’s 1840 Democracy in America), and then in Sarah Grand’s antithetical The New Aspect of the Woman Question (1894), in which the term “new woman” first appeared, the chapter will chart the transformation of women’s domestic work into new types of professional occupations––particularly the new, equivocally gendered, professions that arose with the advent of serial journals, including Judy, or The London Serio-Comic Journal. The Chapter will argue for more diverse conceptions of the lives of urban professional women in the later nineteenth century, touching on recent critiques of masculine constructions of ‘journalistic’ observation and public commentary.
    • The Enduring Power of Comic Strips

      Grennan, Simon; University of Chester
      This chapter argues that the power of comics resides in the historic appearance and modulation of the affective possibilities of the comic strip register. On this basis, it explores how this power is realized in popular visual literature, which derives from, develops and transforms the historic contingencies of reading. Analysing examples in the work of Leo Baxendale, Michiko Hasegawa, Kaz, Christophe Blaine, R. J. Ivankovic, Catherine Anyango, Seth Tobocman, Keiji Nakazawa, Debbie Drechsler and Nicola Streeten, it describes a number of ways in which comics engage with and manipulate these historic contingencies, discussing the use of comedy, satire and parody and the development of political protest and life writing as sub-genres that are fundamentally engaged with readers’ habits and expectations. Finally, the chapter focuses on the opportunities that visual story showing and depictive drawing continue to provide to comics artists to achieve this engagement.
    • Failing Recognition: habit, facture and imagination in the work of Andrei Molotiu and Carlos Nine.

      Grennan, Simon; University of Chester (University Press of Liege, 2016-10-01)
      A chapter in the edited collection "Abstraction and Comics."
    • geographies, yearnings, identities

      Jackson, Maggie; Bebbington, Chris (University of Chester / Fiesol e Arte, 2006)
      This book is the catalogue from the photographic exhibition, geographies, yearnings, identities, held at at Fiesole Art School near Florence in 2006.
    • I Know How This Ends: Stories of Dementia Care

      Wilkins, Peter; Martins, Melissa; Grennan, Simon; Priego, Ernesto; University of Chester; Douglas College; City, University of London
      I Know How This Ends is the second volume in a series that started with Parables of Care: Creative Responses to Dementia Care (2017). The project explores the potential of comics to enhance the impact of dementia care research. This comic book presents, in synthesised form, stories crafted from narrative data collected via interviews with professional caregivers, educators, and staff at Douglas College in Vancouver, Canada, who have cared for relatives and people with dementia in hospital.The intention of the book is to show the importance of feeling in care-giving, the professional aspects of which are sometimes at odds with the family systems aspect of dementia.