• The Shift Dress as Cultural Meaning

      Kealy-Morris, Elizabeth; University of Chester (Gold Word Publishing, 2018-02-08)
      This paper will offer a historic and semiotic analysis of the shift dress as essential to the middle and upper-middle class American woman’s wardrobe and its lasting influence on American sportswear and the collections of luxury brand collections as a signifier of understated feminine youthful health through movement. The shift dress can be traced back to the 1920s chemise. Dresses of that era, particularly those of Coco Chanel, featured exposed legs and arms, simple cuts, loose shapes and little waist definition. This was a move away from corsets and offered women both style and ease of movement. The shift dress became a staple of the American woman’s wardrobe in the 1960s and signified a new trend in women’s clothing as the garment promoted independence, modernity and a redefinition of the female shape. This paper argues that the shift dress’s key place in the American woman’s wardrobe reflects the unique historical and cultural influences on American dress from the birth of the new democratic nation in the Eighteenth century to the rise of the dominance of New York City’s ready-to-wear industry in the mid-Twentieth century and concurrent ideological expectations of the female form.
    • The value of uncertainty: The photographic error as embodied knowledge

      Piper-Wright, Tracy; University of Chester (2018-03-26)
      These days we rarely encounter photographs that have gone wrong: images that are blurred, out of focus, over or under exposed or just plain failed. But our failure to think about failure is having a detrimental impact on our relationship with photography and how we interpret photographic truth and meaning. A consequence of removing errors from the prevailing image culture is that accuracy and resemblance become the predominant visual signifiers of the photographs we see on a daily basis. Accurate photographs seem to depict things ‘as they are’, and to provide a transparent gateway to real events. These neutral, authorless photographs become the basis for an image economy where the tyranny of post-truth claims can take hold. Without a concept of photography as an embodied activity involving human decision making and the limitations of technology, the resulting image becomes the sole locus of attention for the truth claims about what it depicts. Photographic errors are important because they present us with evidence of the contingency of the photograph, breaking the spell of neutrality and reasserting human/technical relationship in the creation of the image. The proposed paper draws on my practice-based research project In Pursuit of Error which is a ethnographic study of the error in photographic practice. Theoretical models drawn from feminist theory, performance theory and aesthetics are used to interrogate the images and narratives collected from photographers. The error is revealed as a discontinuous but valued phenomenon which disrupts the conventions of photographic representation, and proposes the deliberate or accidental photographic error as an emergent, processual and performative act. The paper will argue that the error presents an alternative photographic epistemology from that found in contemporary visual culture: a form of ‘messy’, embodied knowledge which challenges a neutral and machine-led concept of photography in which veracity is the central signifier, proposing instead a concept of photography which acknowledges the subjectivity of the photographic ‘act-in-context’.
    • The Work of Maggie Jackson

      Turner, Jeremy; University of Chester (University of Chester, 2016-04-21)
      Catalogue entry to accompany exhibited work by Maggie Jackson
    • The ‘Epistemic Object’ in the Creative Process of Doctoral Inquiry

      Gray, Carole; Malins, Julian; Bristow, Maxine; University of Chester (Intellect Ltd., 2018-12-15)
      Within the framework of practice-led doctoral research in the art and design sector, there has long been debate about the role of the artefact/creative works in the process of inquiry and in the final submission for Ph.D. examination. Their status can be ambiguous and the concept of ‘exhibition’ is – we would argue – problematic in this context. In this chapter we want to suggest an alternative way of considering the role of artefacts/creative works in a doctoral submission, by discussing the liberating concept of ‘epistemic objects’ – their possible forms and agencies, and the alternative display/sharing of the understandings generated from these through ‘exposition’ not exhibition. Whilst our experience and expertise lies within the sector of art and design, we suggest that some ideas in this chapter may resonate and be relevant to other creative disciplines in the revealing and sharing of doctoral research outcomes. This process can be difficult and provoke many anxieties for the practitioner-researcher and their supervisors, so some clarity on this might help everyone involved in the examination of doctoral work to approach it with integrity and confidence, and see it as a valuable learning experience for all involved.
    • Through the surface: Collaborating textiles artists from Britain and Japan

      Bristoe, Maxine; Chester College of Higher Education (2004-01-26)
      Through the suraface was an Anglo-Japanese mentoring exchange project which explored points of difference and similarity within the cultures of Japan and Britain and involved collaboration between textile articles who were at different stahes of career development. Maxine Bristow mentored the Jaapanese artist Kyoko Nitta and contributed an essay - Material trace-marking time and defining space - to the accompanying booklet.
    • A Trace of Actions Unseen: The Photographic Error as Photography ‘in performance’

      Piper-Wright, Tracy; University of Chester (2018-11-16)
      In contemporary digital photography the error is an increasingly rare and unusual phenomenon, but it presents valuable insights into the practice of photography. This article proposes time as a specific indicator of difference between the ‘conventional’ photograph and the error, based on a distinction between performativity and performance. The performance of the error takes place in three ‘acts’: the photographic event, image recording and interpretation by the viewer. In each stage the error’s relationship to time is shown to be ambiguous and multifaceted, counterpointing a simplified concept of time which prevails in the conventional photograph. The error exposes the entanglement of actors and relationships within the act of photographing and in so doing destabilises common assumptions about photographs as simple, immediate documents.
    • A Trace of Actions Unseen: The Photographic Error as Photography ‘in performance’

      Piper-Wright, Tracy; University of Chester
      In contemporary digital photography the accident or fault is an increasingly rare and unusual phenomenon, but it presents valuable insights into the practice of photography. This article discusses how the photographic error reveals qualities of the photographic experience normally hidden in conventional photographs, and proposes a reconsideration of time in relation to photography perceived through the accidental image. The error is conceived as a performance, extending the conventional time scales of the photograph from the ‘snap’ into three ‘acts’: the photographic event, the recording of an image and, lastly, interpretation by the viewer. In each stage the error’s relationship to time is shown to be ambiguous and multifaceted, counterpointing a simplified concept of time which prevails in the conventional photograph. The error exposes the entanglement of actors and relationships within the act of photographing and in so doing destabilises common assumptions about photographs as simple, immediate documents.
    • Transactions: Painting and photography

      Renshaw, John; Boetker-Smith, Daniel; University of Chester (2006-11-18)
      This exhibition, held at the Grosvenor Museum in Chester and organised jointly with the University of Chester, examines how abstract painting and photography enter into a fluid relationship of ‘cause and effect’. Painting becomes a catalyst for photography and, equally, photography leads to the creation of painting. These transactions invite the viewer to explore visual experience and the construction of meaning.
    • Transforming Anthony Trollope: 'Dispossession', Victorianism and 19th-century Word and Image

      Grennan, Simon; Grove, Laurence; University of Chester, University of Glasgow (Leuven University Press, 2015-05-01)
      An edited collection of eleven chapters. Introduction attached.
    • Travelling the Imaginary Landscape

      Piper-Wright, Tracy; University of Chester (University of Chester, 2016-07-01)
      Catalogue essay to accompany the exhibition "Death Returned Her to Rags" by Alexe Dilworth at FZKKE gallery, Euskirchen Germany 2016.
    • Unravelling photography

      Boetker-Smith, Daniel; Grainger, Karen; Heron, Fergus; Pontin, Matthew; University of Chester ; Independent Artist / University of Brighton / University of Plymouth ; University College Falmouth (Quay Arts, 2006)
      The Unravelling photography exhibition was held at the Matthew West Gallery in the Quay Arts Centre from 6 May to 10 June 2006. Four artists - Daniel Boetker-Smith, Matthew Pontin, Karen Grainger, and Fergus Heron - produced work which focuses on the ability of photography to question its own systems and visuality. The exhibition was presented as four distinct, yet related, projects ion the themes of unravelling looking, unravelling, memory, unravelling place, and unravelling perception. An accompanying exhibition catalogue was produced.
    • Using Mobile Technology to Facilitate Engagement with the Arts for Children with Autism and their Families

      Piper-Wright, Tracy; University of Chester (Springer International Publishing, 2017-07-19)
      This case study discusses the research project Show and Tell and provides an example of how collaboration across different creative disciplines, and within a field nominally unrelated to art and design, can yield successful results by applying creative perspectives to an existing problem.
    • Visuality and identity in post-millennial Indian graphic narratives, by E. Dawson Varughese. 2018. Palgrave Pivot, Palgrave, New York

      Grennan, Simon; University of Chester (Taylor and Francis, 2018-06-18)
      Review of Visuality and identity in post-millennial Indian graphic narratives, by E. Dawson Varughese.