果冻影院

Red House is the only house that was commissioned, created, and lived in by William Morris, founder of the Arts and Crafts movement. Red House is a building of extraordinary architectural and social significance, and of great interest to contemporary artists and their interdisciplinary networks. When Red House was completed in 1860, it was described by Edward Burne-Jones as 'the beautifullest place on earth'; from which this project takes its name. Red House was a site for young artists to collaborate and develop their skills and burgeoning, utopian vision, and it is this concept that we want to explore again.鈥楾he Beautifullest Place On Earth鈥�, a collaboration between the Slade School of Fine Art and Red House, revived the property as a centre for artistic practice. Artists, art historians, anthropologists and political theorists from 果冻影院 worked with Museum staff to explore the legacies of politics, aesthetics and utopian visions through a programme of public talks, workshops and artist residencies.Project LeadsMelanie Jackson, Director of Undergraduate Studies, Head of Undergraduate Sculpture, The Slade School of Fine ArtKieren Reed The Slade School of Fine ArtJames Breslin,  House and Gardens Manager, Red House (Smaller London Properties Group

Five artists, at different stages of their education, practicing varying media, participated in a residency to work with the collections as part of their contemporary practice. The project resulted in the new works populating the exhibition, as well as a lively series of upcoming performances, film screening and workshops led by the artists to highlight aspects of their research and practice.Sonya Derviz鈥檚 practice is focused on how space is used today. For 果冻影院 Art Museum she has produced installation work, to consider how fabric can define and express space, how the visual qualities of surfaces can be understood as a spatial element, and the ways in which daily experience of light influences how we look at the collection and the uses of the space in which it is housed. The work was made specifically for the Print Room or adjusted to it, asking us to find relations to ourselves, to our situations and surroundings.[[{"fid":"6871","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EPhotograph%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"small","field_file_image_alt_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EPhotograph%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"2":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EPhotograph%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Cyrus Hung鈥檚 collection of traces, the common rubbish left behind on the walls and floors of the Slade studios, remind us of the everyday activities, experiments and lives that exist behind student practice, and the culmination of study that leads up to the highly anticipated, yet stressful degree show. The albums shall be taken out for examination at set times on Wednesdays by 果冻影院 Art Museum staff.[[{"fid":"6875","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_file_image_title_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][title]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EWork%20by%20Cyrus%20Hung%20and%20Sonya%20Derviz%2C%20image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_file_image_title_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][title]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EWork%20by%20Cyrus%20Hung%20and%20Sonya%20Derviz%2C%20image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"5848","class":"media-element file-medium"},"link_text":null}]][[{"fid":"6879","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Cyrus Hung","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Cyrus Hung","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Eloise Lawson explores the notion of the precarious archive by considering the indexical potential of texts that accompany artworks. Struck by the evocative qualities of the Museum鈥檚 registers, Lawson chose fragments and assembled them together as a way of animating and re-imagining the collection. When performed, the final work traverses across 11,000 works at great speed, to provide a partial and unreliable portrait of the collection. How this practice can lead to a deliberate misreading will be explored in a zine-making workshop, and other scheduled events by the artist.[[{"fid":"6891","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image by Eloise Lawson","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20by%20Eloise%20Lawson%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image by Eloise Lawson","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20by%20Eloise%20Lawson%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"2417","width":"3222","class":"media-element file-medium"},"link_text":null}]][[{"fid":"6895","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Ruins%20in%20a%20Landscape%20by%20Eloise%20Lawson%2C%20Image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Ruins%20in%20a%20Landscape%20by%20Eloise%20Lawson%2C%20Image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Amanda Rice鈥檚 moving image work takes as its starting point JMW Turner鈥檚 Colebrook Dale (1825), a print depicting a once active lime kiln in Shropshire, the industrial scars and abandoned pits now covered by the new town of Telford. Taking the form of a caveat, Rice鈥檚 flag plays upon the sites鈥� links to the industrial revolution, and acts as a cinematic device whereby the objects鈥� visual folding and unfolding suggests an ever-shifting topography of extracted material, manipulated surfaces and new economies.[[{"fid":"6527","view_mode":"small","fields":{"format":"small","field_file_image_alt_text[und][0][value]":"Flag","field_file_image_title_text[und][0][value]":"Flag","field_caption_heading[und][0][title]":"Flag","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Flag%2C%20Amanda%20Rice%2C%20HD%20video%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"small","field_file_image_alt_text[und][0][value]":"Flag","field_file_image_title_text[und][0][value]":"Flag","field_caption_heading[und][0][title]":"Flag","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Flag%2C%20Amanda%20Rice%2C%20HD%20video%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"1610","width":"1308","class":"media-element file-small"}}]]In her studio practice Grace Richardson explores how to make ever-finer casts of objects in paint. Here she creates an artificial skin to mimic the natural velum found in the collections, as a means of exploring the fragility and impermanence of skin, the push and pull of conservation versus degradation. In contrast to Jeremy Bentham鈥檚 mummified head on display in the nearby Octagon Gallery, Richardson鈥檚 piece has a brief lifespan, and will purposefully disintegrate by the end of the exhibition.[[{"fid":"6899","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Grace Richardson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Grace Richardson","field_caption_heading[und][0][title]":"Detail of work by Grace Richardson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3E%26nbsp%3BImage%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Grace Richardson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Grace Richardson","field_caption_heading[und][0][title]":"Detail of work by Grace Richardson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3E%26nbsp%3BImage%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]] 

Where do we want to take 果冻影院 public engagement in the next ten years? What stepping stones can help us achieve our ambitions together?2018 marks the tenth anniversary of the 果冻影院 Public Engagement Unit. As part of this important year, we've been asking friends, colleagues and leaders in this area to share their thoughts about our work and how we can embed a culture in which staff, students, departments can engage with communities. YouTube Widget Placeholderhttps://youtu.be/oVaPMGh3Z1MJoin the conversationShare your ideas by emailing the 果冻影院 Public Engagement Unit at publicengagement@ucl.ac.uk or connect on Twitter by tagging @果冻影院Engage with the hashtag #PublicEngagementFutures. We'll announce our findings in 2019 and let you know how you can get involved in the future.Find out moreClick here to discover the history and achievements of the 果冻影院 Public Engagement Unit.

The Girl at the Door is a three-year public art project exploring the legacy of suffrage. It started in 2015 as a collaboration between artist Kristina Clackson Bonnington and Dr Martine Rouleau (果冻影院 Art Museum Learning and Access Officer).About the projectKristina Clackson Bonnington explains the origins of the project."It all started with a painting I came across in the Beaney House of Art and Knowledge in Canterbury. It's a life size painting of a little girl standing at the door, painted in 1910. The painting has such a prescence and immediately struck me as being of huge social significance. In 1910 the little girl standing at that threshold was excluded from so many places, but big changes were about to come. I wanted to explore what all these changes had actually amounted to. By working with hundreds of people, from primary school pupils to Parliamentarians, I started to investigate what changed as a result of suffrage."果冻影院 was thought to be the perfect site to launch the project due to its historical ethos of equality. Known as the 'godless college on Gower Street', 果冻影院 was the first secular university in the UK, and the first university to admit female students on equal terms to men. 果冻影院's Slade School of Fine Art was also the first art college to admit women in the life room and has played a significant role in the inclusion of women in the arts.LaunchIt was launched with a two-day event taking place on 6 and 7 March on the eve of International Women's Day 2015. Activities took place on 果冻影院 campus with talks, workshops, music and a new piece of work by Clackson Bonnington called the House of Doors. This was an immersive sculptural work that reworked 果冻影院's Quad into a private members' club in which visitors were sworn in as MHDs (Members of the House of Doors) and contributed ideas for new laws to The Book of Love and Legislation.The House of Doors comprised of a large sculpture that referenced architectural details from three sites of significance to suffrage (果冻影院, Parliament and St James' Street). The sculpture extended to create a space where people could come together to reflect on and question their beliefs and actions through a range of spatial interventions and a series of talks and workshops. See a range of images on our Flickr site here.ContributorsProfessor Graham Scambler, Emeritus Professor of Sociology at 果冻影院Sculptor Ana Maria PachecoStudents from Argyle Primary SchoolDr Susannah WalkerArtist Kristina Clackson BonningtonStudents and researchers from Central St MartinsStudents and researchers from the Slade School of Fine ArtRockFourArt: Art & Action Research CollectiveSixth Form students from Sacred Heart Catholic SchoolLes Zoings 果冻影院 History of Art students 

 鈥淚f I were asked to say what is at once the most important production of Art and the thing most to be longed for; I should answer; A beautiful House; and if I were further asked to name the production next in importance and the thing next to be longed for; I should answer; A beautiful Book.鈥� William MorrisThe MA Publishing course at 果冻影院 runs a module which provides students with an opportunity to work on a 鈥榬eal鈥� publishing project.  Students received training in object handling, selecting and curating content from staff at the William Morris Society and produced a physical publication highlighting key aspects of the Society鈥檚 collections, focussing in particular on Morris鈥檚 belief in books as objects of beautyFind out more on the project blogProject LeadsSamantha Rayner, Director, Centre for Publishing, Department of Information Studies, 果冻影院Helen Elletson, Curator, William Morris Society

A prologue to 果冻影院's Disrupters and Innovators exhibition in the Octagon GalleryThis installation focused on an illustrated book wirtten in 1899 by Marion Wallace-Dunlop (1864-1942) who studied at 果冻影院 and whose story is featured in the Disrupters and Innovators exhibition that followed.This project was part of 果冻影院 Art Museum's family of projects Curating Equality and Vote 100 at 果冻影院 in 2018.Quotes featured in the exhibition are from Marion Wallace-Dunlop, The Magic Fruit Garden (London: Ernest Nister, 1889).About Marion Wallace-Dunlop and The Magic Fruit GardenWallace-Dunlop was an artist, writer and lifelong campaigner for women鈥檚 rights. In 1909, she became the first suffragette to go on hunger strike, having been imprisoned for stencilling political graffiti on a wall in the House of Commons. Two decades earlier, she created a fairy tale about a girl struggling to write an essay on 鈥楶erseverance鈥�.  In her quest for wisdom, Doc finds a magic fruit garden where knowledge-fruit grows on bushes and trees. Here she picks 鈥榞eography-plums and history-apples and grammar-pears and all the time her knowledge of everything kept growing bigger and bigger鈥�. In a glass conservatory, Doc encounters piles of sweets 鈥榤ade from mixtures of the various fruits in the garden boiled in a syrup called Research. There was botany-sugar, zoology-candy, geology-toffee, and sugar-plums of every kind and colour鈥�. When she gets home, her brother tells Doc it was only a dream and remarks that it鈥檚 鈥榡ust like a girl to think that a dream is real.鈥� However, he then embarks on an adventure of his own which forces him to admit the magic garden is real.The history of women at 果冻影院This exhibition is part of 果冻影院's year-long Vote 100 programme, which marks the centenary of the Representation of the People Act that granted the vote to some women over the age of 30 in the UK.Beginning in the 1860s, 果冻影院 experimented with providing classes for women. From 1878, women could study alongside men and receive University of London degrees: the first time this had happened in the UK. It was not until 1918 that new legislation allowed the first women to vote in the UK. This was part of wider electoral reforms accelerated by World War I. Ten years later, women received equal voting rights with men. This process was a backdrop to the lives of female students and researchers at 果冻影院 and beyond in the early 20th century. However, co-education was not adopted in all subjects and female students and staff continued to face many obstacles.The 果冻影院 Vote 100 programme revealed the impact of the pioneering women who built the university, and imaginatively explore the battles still to be won. Find out more about 果冻影院 Vote 100 here.Collaboration across 果冻影院This 果冻影院 Culture exhibition was curated by Dr Nina Pearlman, Head of 果冻影院 Art Collections, who also managed the design concept.It was produced in association with:Angela Scott, 果冻影院 Digital Media - Design realisationDarren Stevens and Sam Wilkinson, 果冻影院 Culture - Production