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2014/15 CSM Practices of History presentations

Written by
cvanja
Published date
05 November 2014

Presentations of members of the Practices of History Research Group at CSM

Wednesday 05 November 2014

Presentation 1:

Peter Cattrell: ‘Traces of War’ – Landscapes and Still Lives from the Western Front of 1914 -18

Maize Cutting, Serre, Somme CCC

Landscape photographs taken of the sites of the Great War with particular links to relatives who fought there. Close ups of shrapnel found while walking the frontline, deliberately enlarging them to alter their scale, and present them in a new way, perhaps emphasizing the danger these small objects had. The historical research into the places and people has also been a large part of the project. The work has been exhibited in : The National Gallery of Photography, Dublin; The National Museum in Belfast; The Imperial war Museum, London; The Durham Light Infantry Museum; The National Portrait Gallery, Edinburgh (twice); and the Robert Fleming Gallery, London.

Peter Cattrell did  a degree in Photography at LCP, then has worked as a freelance photographer since 1982. His creative work is mostly on the rural landscape of Europe, has exhibited widely, and has prints in National, Corporate and Private collections.

Presentation 2:

Peter Barker: ‘The Mini as a vehicle of social change in Britain 1959 to 1979’
IMG_0442
A presentation on very early stages of a planned research project along the same lines.
Peter Barker is Acting Course Leader for BA Product Design at CSM and has been interested in the Mini car since learning to drive in one in 1980.
THE FUTURE OF HISTORY
Friday 27 March 2015
Presentation 1:

Iain Sinclair: ‘The War on Silence: Rescuing place in the digital age, by way of curious expeditions and railway-arch pilgrimages. With special reference to the Hackney Hole and the Mole Man.’

Straw Bear and Deptford Dave, from the film By Our Selves (Iain Sinclair)

Straw Bear and Deptford Dave, from the film By Our Selves (Iain Sinclair)

Presentation 2:

Oriana Baddeley: ‘History writing, rigour and the REF’

Presentation 3:

Heather McCallum (Yale University Press): ‘What are the options for history book publishers?’

How should historical research be presented, given new digital options: what do scholars want, and their institutions, and REF how does that link with what is fiscally viable for commercial/academic publishers?

Presentation 4:

Hana Leaper (Paul Mellon Centre for Studies in British Art): ‘The new British Art Studies journal’

British Art Studies is a new online, open access and peer-reviewed journal produced by The Paul Mellon Centre for Studies in British Art and the Yale Center for British Art. British Art Studies will provide an innovative space for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts. The editors are keen to encourage submissions that will make the most of the journal’s online format and want to publish articles that propose visually stimulating ways of presenting art historical research. The first issue of British Art Studies is planned for Autumn 2015 and the call for submissions, style guide, and more information about the journal are available at visit www.paul-mellon-centre.ac.uk/408/.For all enquiries about British Art Studies, contact Dr Hana Leaper, journal@paul-mellon-centre.ac.uk.

Presentation 5:

Lothar Goetz: ‘The spirit of a space’

Lothar Götz uses colour to define the architectural qualities and the spirit of a space. He is interested in the way aspects of decoration and colour can have an impact upon us. His drawings form part of an ongoing series exploring spatial ideas for domestic spaces: apartments, houses, bungalows, villas.

Zimmer für Bernhard Landauer - Empfang mit Blick auf den Wannsee, 2011, Dimensions variable, Vinyl emulsion on wall, Installation views: Don't Look Now, Galerie der Stadt Remscheid, Germany Photo: Achim Kukulies

Zimmer für Bernhard Landauer – Empfang mit Blick auf den Wannsee, 2011, Dimensions variable, Vinyl emulsion on wall, Installation views: Don’t Look Now, Galerie der Stadt Remscheid, Germany
Photo: Achim Kukulies

Presentation 6:

Margot Finn (UCL): ‘The East India Company at Home: From Collaboration to Co-production in Historical Research’

This presentation explores developments in historical practice in the UK that move beyond collaboration with heritage and other ‘non-academic’ partners to co-production of new histories across a diverse range of historical research communities, focusing on the imperial histories of the British stately home.

Re-examining the ‘neo-classical’ interior at Osterley House.

Re-examining the ‘neo-classical’ interior at Osterley House.

Presentation 7:

Barby Asante: ‘Curating the marginal’

The use of and creation of archives to represent and speak about place, migration and identity.

Barby Asante is interested in creating works that stimulate dialogue around the cross-cultural and multicultural and how we view and frame these questions in contemporary Britain, often using familiar or popular culture triggers as a means to begin the dialogue.

Photo showing artist and curator Barby Asante in front of exhibition display

Barby Asante

Presentation 8:

William Raban: ‘Introducing and screening of the film, The Houseless Shadow

Film Still of The Houseless Shadow by William Raban showing scene in a London street by night

Film Still of The Houseless Shadow by William Raban