• Malcolm Lowry - Detours and Dislocations - Douglas and Dollarton: Proposals for Artworks

      Quayle, Cian; University of Chester (Liverpool John Moores University & the Bluecoat, Liverpool, 2017-07-28)
      As a set of 'Proposals for Artworks' and associated writing this project builds on previous research, which retraces the footsteps of Wirral-born author of Under the Volcano, Malcolm Lowry. The work emerges from photography and moving image made on location in Vancouver in June 2017. A paper entitled ‘Malcolm Lowry – Detours and Dislocations – Douglas and Dollarton’ was presented at the LJMU conference: Under the Volcano – 70 Years On: An International Malcolm Lowry Conference. A 1/50 scale model of Malcolm Lowry’s 1944 shack at Dollarton, and a carousel, slide-projected, artwork of 80, 35 mm slides (Cates Park and Maplewood Mudflats) was exhibited at the Bluecoat, Liverpool as part of the conference proceedings, July 28 - 29, 2017.
    • Marie Duval

      Grennan, Simon; Sabin; Waite, Julian; University of Chester, Central Saint Martins (Myriad Editions, 2018-03-22)
      General audience book presenting and analysing the work of Victorian cartoonist and actress Marie Duval.
    • Marie Duval and the Technologies of Periodical Publishing

      Grennan, Simon; University of Chester
      The chapter will focus on three areas of activity constituting commercial illustration: training, degrees of labour organisation and types of employment and remuneration. It will construct a description of Duval’s career in commercial illustration according to relationships made between the known corpus of her published work, over a fifteen year period, and the technical processes, personnel and locations of the print technologies utilised by her publisher (Wright 1995). Duval appears to have lacked training in two key areas of her profession: studio – that is, academic – training as a draughtswoman and training as an engraver. The chapter will examine how training, and the lack of it, constituted types of access and prohibition of access to key personnel and locations, as well as to conventions of topic and approach, and levels of remuneration (Huneault 2002). It will argue that these types of facility and prohibition were explicitly gendered whilst also being established trade orthodoxies, in which proof of agreed types of technical competency was key to accessing employment. (Flood 2013). The chapter will consider contemporaneous concepts of women’s work in the media in the last half of the century (in Craik 1857, Starr 1899 and in the Alexandra Magazine 1864, for example), proposing that distinctions can be made on the basis of social class as well as gender, between women who joined or enjoined established trades, such as wood engraving, and women generating new types of work, alongside men, in media professions with emerging or changing identities, such as photography and journalism (Colligan and Linley (2011).
    • Marie Duval: Laughter in the First Age of Leisure.

      Grennan, Simon; Sabin, Roger; Waite, Julian; University of Chester; Central Saint Martins (Illustrative Festival Berlin, 2016-10-15)
      A public exhibition of the work of 19th-century cartoonist and actress Marie Duval.
    • Marie Duval: Laughter in the First Age of Leisure.

      Grennan, Simon; Sabin, Roger; Waite, Julian; University of Chester, Central Saint Martins (Guildhall Library London, 2017-11-17)
      A public exhibition of the work of 19th-century cartoonist and actress Marie Duval.
    • Marie Duval: Victorian Cartoonist

      Grennan, Simon; University of Chester (Myriad Editions, 2018-03-29)
      Book chapter.
    • Medium (un)specificity as material agency – the productive indeterminacy of matter/material

      Bristow, Maxine; University of Chester (Taylor & Francis, 2018-03-22)
      In this article, I consider some of the debates brought to the fore by the proliferation of recent textile focused exhibitions; namely the tension between a continued allegiance to medium specific conventions and the richness, hybridity and heterogeneity afforded by the post-medium condition of contemporary art. Through a new body of sculptural and installational practice I propose a constellatory opening up of textile in which the medium specific can be (re)mapped in a fluid and fragmentary way. Drawing particular reference from Adorno’s conception of the constellation and mimetic comportment, this model of practice involves a mode of behaviour that actively opens up to alterity and returns authority to the affective indeterminacy of the sensuously bound experiential encounter. This is manifest through a range of practice strategies - “thingness”, “staged (dis)contiguity”, and the play between “sensuous immediacy and corporeal containment” - which mobilise a precarious relationship between processes of attachment and detachment. Acknowledging the critical currency afforded to textile through feminist and poststructuralist critique, the work moves away from “a rhetoric of negative opposition” and predetermined discursive frameworks, returning authority to the aesthetic impulse, privileging the ambiguous resonances of an abstract sculptural language over more overt strategies of representation.
    • Medium, Knowledge, Structure: capacities for choice and the contradiction of medium-specificity in games and comics.

      Grennan, Simon; Hague, Ian; University of Chester, London College of Printing (ACME Group, University of Liege, 2016-06-01)
      A conference paper presented at ACME Research Group Conference, University of Liege.
    • Medium, knowledge, structure: capacities for choice and the contradiction of medium-specificity in games and comics.

      Grennan, Simon; Hague, Ian; University of Chester, London College of Communication (Image [&] Narrative Journal, 2018-03-21)
      Chris Ware’s Building Stories (2012) is a box containing fourteen items that can be read in any order, and for this reason it appears to offer its readers a great deal of choice over the narrative structure of the work. This paper contrasts Building Stories with the video games Fallout: New Vegas and The Elder Scrolls V: Skyrim to demonstrate that that although Building Stories does offer choices, these choices are not ultimately meaningful because while the reader can decide the order of presentation, they cannot decide the order of events as they can in the games, and in other examples such as Marc Saporta’s novel Composition No.1. The article draws upon the work of Seymour Chatman, Gonzalo Fresca and Espen Aarseth in analysing narratives in games and texts, and concludes by considering the implications of choice in narrative.
    • Meeting Point

      Grennan, Simon; Sperandio, Christopher; University of Chester; Rice University Houston (Arts & Heritage, 2016-05-01)
      Outputs of an artists' residency at Kirkleatham Museum.
    • Mental pictures: citizen or consumer?

      Rutherford; University of Chester (SAGE, 2008-07-01)
      This journal article discusses media images relating to health care.
    • MerzNorth Seminar 3, 28th October 2015

      Quayle, Cian; University of Chester (The Kurt Schwitters Society, 2015-11)
      Essay/review of the MerzNorth 3 Seminar proceedings for the November 2015 issue of the Kurt Schwitters Society Newsletter. The event was held at the University of Cumbria on the 28th October 2015. The review also includes an account of the author's paper at the seminar related to the preparation of an AHRC funding proposal related to the legacy of Kurt Schwitters internment and exile in Britain during the 1940s.
    • Michael Sandle: Grit in the Oyster and Ideas Never Completed

      Quayle, Cian; University of Chester (Cheshire West and Cheshire Council, 2018-05-18)
      'Grit in the Oyster and Ideas Never Completed' appears in the book publication which accompanies the exhibition 'Michael Sandle - Monumental Rage' at the Grosvenor Museum, May 19 - October 7. The exhibition was curated by Peter Boughton, Keeper of Art at the Grosvenor Museum. The artworks in the exhibition were loaned by the artist and Flowers Gallery, London following their exhibition entitled 'Time, Transition, and Dissent', 22 January - 20 February, 2016. Michael Sandle is one of the leading sculptors of his generation with public artworks on display worldwide. The essay takes the form of an interview based on meetings and correspondence with Sandle, which focus on a collection of the artist's sketchbooks from 1965 onwards. Sandle's work is rooted in drawing as a medium as he continually works through ideas for sculpture, which are not completed in the sense that the themes and concerns, which the work addresses thematically, are unresolved in relation to their subject and content. The sketchbooks reveal the development of thoughts and ideas for artworks and their relationship with time, place, dream and memory. These ideas are continually reformulated in drawings and etchings, which are then made manifest in site-specific works of sculpture. The essay references significant events and influential works by other artists, writers and composers which have shaped Sandle's life and work. Sandle's empathy for humanity, and the injustice and catastrophic tragedy of war are also referenced in relation to Walter Benjamin's 'Theses on the Philosophy of History' (1940) via Paul Klee's drawing 'Angelus Novus'.
    • A Mile Apart

      Connolly, Lynne; University of Chester (Lynne Connolly, 2017-10-18)
      Abstract: This paper explores through the use of photography, a parallel mapping of the ‘unspoken’ domestic sphere, the myth of the safety of home, and set against political and external events in a unique period of recent history. It is focused on Belfast, Northern Ireland and the period of ‘The Troubles’. It examines the nature of the space we inhabit, the vernacular, the everyday and how this might influence our identity. Drawing on the work of Bachelard (1969) it will also explore how the vernacular can be located in a different time frame, and therefore allows for a new representation and perspective. The recreation of a wholly new space that partially exists in our experience and further exists in our interpretation of that through memory. It exists in our own parallel universe of understanding wherein we become spectators in the drama of our past. In this research the camera is working in a reversal of representation, using potentially unreliable memory to recreate moments of past events. These moments are often fragments or elements of scenarios. It is not the reliability of memory that is in question but rather the need to have validation of a remembered thing in speaking and visualising of it. Through a series of constructed images, this paper will explore this journey of representation, memory and how the photographic mnemonic becomes a device to explore divergent memories in relation to the home as well as external influences on identity and memory.
    • Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art

      Grennan, Simon; University of Chester (University of Amsterdam, 2015-06-15)
      This paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.
    • Misrecognising Misrecognition: the Capacity to Influence in the Milieux of Comics and Fine Art.

      Grennan, Simon; University of Chester (2016-10-01)
      This paper will consider some of the relationships between subjects, social institutions, media and ideas that characterise differences between the environments in which both comics and fine art are produced, used and become comprehensible. It will outline a specific theoretical framework encompassing these differences, describing the discursive co-dependency between forms of media, the uses to which they are put and the habits of thought and expectation engendered by these uses. This encompassing theoretical frame draws in particular upon Althusser, Bourdieu and Hodge and Kress, describing these relationships as ideology, deriving from Karl Mannheim’s and Marx and Engels’ critiques of ideocracy, the promotion of or resistance to ideas on the grounds of the degree to which they reproduce or contradict a dominant social structure. Utilising examples in the productions and social histories of fine artists Jean-Michel Basquiat, Billy Childish, Raymond Peittbon, Lichtenstein and Manet and comics artists Grennan & Sperandio, Janette Parris and Gary Panter, the paper will explore how the relationships between the dominant ideas of one group of people, and the world experiences of other groups, include misrecognition. Those ideas that dominate social discourse in any particular circumstance are not actively misrepresented by the dominant order, according to this model, but rather misrecognised and either overlooked or accepted by others for whom they are materially disadvantageous. Referring to social studies of the fine art world by Zolberg, Danto and Dickie, and to Beaty’s recent commentary on the roles of fan culture, authorlessness and the dynamics of ‘outsider’ status, in creating the social environment of comics, the paper will finally suggest that the degrees and types of this misrecognition constitute two distinct, though continually developing, sets of social constraints that underwrite the possible meanings and uses of comics and fine art, by continually substantiating the histories of their own milieux.
    • Neither the One nor the Other: Photographic Errors - Subjectivity, Subversion and the In-between

      Piper-Wright, Tracy; University of Chester (MAI, 2018-02-28)
      The photographic error opens up a paradoxical space between machine and human and presents this space as a gap in the conventions of photographic practice both technologically and culturally. By undermining the certainty which attaches to our use of technology the error opens us to the possibility of playing with and against the technology we use, subverting the rules in order to create something new. In the third dimension of the error we are able to question the photographic practices and images which we are surrounded with daily. We can ask what purpose and meaning photography has to us: what are we trying to do when we take a photograph?
    • The New Map of Barset

      Williamson, Michael; Grennan, Simon; University of Chester
      A comprehensive map of the County of Barsetshire, based on Anthony Trollope’s original sketch plan (1860) but incorporating all the references contained within the Barchester and Palliser Series of novels and other references within Trollope’s works.
    • No Sign of Canals on Mars: An artist's response to the illustrated travel diaries of Eileen Burke

      Daly, Tim; University of Chester (Canal & River Trust/ National Waterways Museum, 2018-03-15)
      From 1960 to 1979, Eileen Burke created 23 illustrated travel diaries with her friend Flo Boyde while touring in their car and cruising the River Lee and the River Stort with their boat, the 'Lillian Maud'. The diaries are a unique example of leisure as documented by a keen amateur photographer and artist. Inspired by these diaries, Tim Daly, a Senior Lecturer at the University of Chester, has produced a book: "No Sign of Canals on Mars", which includes reproductions of Eileen Burke's watercolours, drawings and excerpts from her diary pages. The exhibition celebrates the 'thingness' of the diaries especially their handmade contents and Eileen's formidable making skills.
    • No Sign of Canals on Mars: The Illustrated Travel Diaries of Eileen Burke

      Daly, Tim; University of Chester (Fugitive Press, 2018-03-15)
      No Sign of Canals on Mars is a multi-part publication containing reproductions of Eileen Burke’s watercolours, drawings and excerpts from her diary pages presented as a spiral bound diary with ephemera inserts and tipped in souvenirs. Alongside this is a small wallet of real photographic prints printed from Eileen’s collection of colour slides. Housed in a museum style clamshell box, the publication aims to be a kind of distributed archive allowing readers to handle and scrutinise works that would otherwise be inaccessible due to their fragile condition.