Browsing by Author "Lucas, Anna"
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Item Open Access Art School(2015) Lucas, AnnaArt School is a body of research that focuses on the pedagogical environment and the conditions of creative thinking & material making. The outputs are films that embed reflexivity in their concept, process and form, further contextualised through International talks, events and curated screenings about Art School and the nature of artist’s process and pedagogy. The underlying research questions also address the significance of artist’s processes within the contemporary political and cultural climate. The first film Art School, 2015 shot over three years in a university Fine Art department, represents the generic spaces and facilities once seen in art schools worldwide. Using the camera and editing process as a research tool this work prompted a deeper investigation into the context and climate for art pedagogy including significant new commissions Art School, Kingston for Kingston University and Workshop for Tate Schools and Teachers Programme. Art School premiered at Anthology Film Archives in New York 2015 as part of The Infinite Child: The Art School Dance Goes on Forever, programmed by Sukhdev Sandhu for The Flaherty Series chaired by Dan Fox, Editor of Frieze magazine, Eugenia Bell, Design Observer Executive Director and supported by Paper Monument. The film was central to the curatorial premise for the exhibition Impersonal Life May 2016, Gallery 175, South Korea, with catalogue & essay by Songyi Son and for a group exhibition at The Gallery, DMU June 2017, curated by Dr. Stacy Boldrick and International MA students from Museum and Gallery studies at University of Leicester. In January 2017 Art School was shown with artists films at This is an Art School - Central St Martins, at Tate Exchange, Tate Modern and as part of a curated series of films and a talk for LUX Cornwall, Tate St. Ives, March 2016. Art School – Kingston has been launched as an on-line resource for art students, and Workshop premiered as an exhibition at Tate Exchange, Switch House, Tate Modern May 2017.Item Open Access Art School (Impersonal Life Exhibition)(Gallery 175, Seoul, South Korea, 2016-05-05) Lucas, AnnaA catalogue published to accompany the exhibition Impersonal Life at Gallery 175, Seoul, curated by Songyi Son with artists Anna Lucas, Dakyuum Kim, Heeza Bahc, Jiin Juen, Sodam LimItem Metadata only In Site of Conversation: On Learning with Art, Audiences and Artists(Tate Publishing, 2017) Lucas, AnnaWhat does a Learning programme in an art museum afford those who engage with it? In Site of Conversation is a detailed account of the practice of the Tate Learning team, as they work on promoting a space of exchange, conversation and ideas – where the individual learning of everyone involved is equally valued. This book examines the broader questions, theories and concepts of in-gallery learning, examined in essays from Pat Thomson, Rebecca Solnit, Eve Sprague and Nicholas Addison. A useful learning resource for teachers, it also offers an insight into artist perspectives, with chapters by Harold Offeh, Jo Addison & Natasha Kidd, Anna Lucas and Alex Schady. My film work Gustav, Graham and Lee made behind the scenes in the Tate moving image collection is used as a case study for a chapter in this publication. The process of enquiry and final exhibition of the work is revealed and analysed through correspondence with all parties involved. The book also includes a chapter on Affect by Nicholas Addison centred around a workshop in which I worked with teenagers around my film Opi 21, Oopsy Daisy, Tiger Lily in relation to the Tate collection.Item Metadata only Land of Silence and Darkness(Ruskin School of Drawing and Fine Art , Oxford University, 2009) Lucas, AnnaThis research investigates visual perception and the use of a camera as a research tool to observe amateur experts and technicians who have a vernacular knowledge related to the natural world, or to pedagogical institutions. In this case the research took place at the Department of Physiology and Anatomy and Genetics (DPAG) and Ruskin School of Drawing and Fine Art at Oxford University through a Wellcome Trust Fellowship. Experimenting with the moment of drawing, creating rules and structures to explore the balance between instinct and intellect, I have developed a technique of blind drawing from movies to capture the time, light and formal qualities of a movie. Working within DPAG generated questions about perception, and how the ‘physiology and anatomy’ of a film might be defined and captured in drawing and through the film. Focussing initially on movies connected to audio-visual perception, primarily Werner Herzog’s documentary Land of Silence and Darkness about a deaf and blind woman communicating through touch the work extended to live drawings and filming in the labs. As a parallel method of observing and recording through drawing, I also negotiated permission to shoot a 16mm film in the highly protected environment of the Anatomy Lab. Demonstration 50.15 follows the repetitive daily activities of the mortuary technician as he embalms and prepares bodies for medical students. The work reveals his quiet dignity and diligence within an environment more often recognised for scientific breakthroughs or ethical controversies. Further dialogue and lab visits with a perceptual neuroscientist, geneticists, anatomists and technicians at DPAG and a wider community of artists, art historians and writers at Oxford University, including an expert on Diderots’ Letter on the Blind for the Use of Those who can See extended my exploration. The challenges and experiences of working alongside scientists made us all question the validity of our research our understanding of the context and language through which art and science are assessed. Much of this research was shared in Land of Silence and Darkness - four days of talk and action connecting movies, blindness, drawing, perception, and neuroscience in venues across Oxford. The resulting Blind Movies is a book of “blind movie and live carbon drawings’ 2006 -2009 with an essay by film writer Silke Panse. The book and film have shown widely in UK and abroad and are distributed through LUX.Item Open Access Little White Feather and the Hunter2(Commissions East, 2008) Lucas, AnnaLittle White Feather and the Hunter is a 40min, colour, stereo video and book, conceived, filmed and edited by artist Anna Lucas. Commissioned by Commissions East with Essex County Council, funded by Arts Council England for ‘Jamestown 400’ anniversary of the first English settlement in North America. Following UK screenings, further dissemination came from an exhibition/residency at Arlington Arts Centre, USA (2009).# "# The research investigates how the historical representation of indigenous and colonial narratives through fact and fiction inform current representations of knowledge and identity.# # Using her camera as research tool Lucas gathered audio-visual material from archaeological sites, museums, Native American reservations, and estuary landscapes in Virginia (USA) and Essex (UK) to re-interpret the story of Native American Princess Pocahontas.# Contextual research drew on mainstream media, including web, broadcast (Addams Family), Disney animation, cinema (The New World, Terence Malick) alongside historic engravings, written and oral accounts. Depictions of hunting as food source, trophy, ritualized event and leisure pursuit raise comparisons between contemporary and historic use of land, and became a metaphorical theme as the work developed.# "# The film challenges conventional documentary form through extended cinematic static location shots juxtaposed with its unusual soundtrack in which diverse opinions from tribal leaders, historians, re-enactors and ancestors are heard without exposing their authority or identity. The soundtrack also features existing sea shanties, hymns and commissioned folksongs sung by Dani Siciliano (USA) and Mara Carlyle (UK). The representation of Native American cultures and the impact of colonialism carried greater significance for American audiences.# "# Significantly in her publication essay ‘Failures of Fact and Fiction’, Lisa Lefeuvre, Head of Sculpture Studies, Henry Moore Institute, Leeds observes ‘the film makes no claims for truth – rather it presents an analysis of the ways that fact and fiction form belief systems and a means for understanding the place of individuals in the world’.# "# This work led to Uncommon (16mm 2012), an observation of three male hunters in rural Dorset, commissioned by Anna Best for Roads for the Future with artists Judith Dean and Adam Chodzko, included in Lux programme at internationally renowned Oberhausen Film Festival 2013.#Item Embargo Looking as research(Tate Learning, 2016-05) Lucas, AnnaLooking as research was developed from a set of questions from the Tate Learning team regarding my practice as an artist, particularly with reference to film-making. How to Research booklets provide clear yet in-depth examples of what research really looks like for artists. The booklets offer creative strategies to support a broad range of Art and Design curriculum at GCSE, BTEC, AS and A Level. Developed in conversation with artists and teachers, these resources invite consideration of the meaning and value of research within art practice. By championing research as an integral tool for developing students’ individual voices and lines of enquiry, the How to Research series aims to support engaged, contextualised, thoughtful investigations into and alongside art and artmaking.Item Embargo Slow Reveal(ALF and Tintype Gallery, 2017) Scott, F.S.; Lucas, Anna; Turvey, L.Slow Reveal is a conversation between artists Anna Lucas, Frances Scott, and writer Leanne Turvey (collaborating as ALF), around the production of two films: Anna Lucas’s Opi 21, Oopsy Daisy, Tiger Lily (2014) and Frances Scott’s Apex (2014), initially commissioned by Tintype Gallery for ESSEX ROAD, eight films responding to the mile-long route in north London. Anna and Frances shared production processes, drawing on the same photographic material. The films intersected, whilst operating as discrete works. "Fireflies light their bioluminescence in flashes. Each species has a unique blinking pattern, their lanterns intermittently lit like semaphoric pulses. Here, the two works might be understood to be calling rhythmically to each other. Working together brought their different practices into closer proximity; the differences in the practice of one, giving a permission to explore new ways of working in the other." Leanne Turvey Slow Reveal is the first iteration for ALF of an ongoing investigation into the significance of dialogue and collaboration between artists in the creation of new work. Slow Reveal comprises an edited transcript of this conversation, epilogue-essay ‘Fireflies’, and a series of film stills sharing connections and tangential references. It isa 36 page book, with exposed colour photographic paper cover, printed in edition of 250. Its 6x4” format references the standard 35mm photographic print. The work acts as a trigger for further collaboration, readings and events, rather than an end in itself. To date these have included With Over 450 illustrations: a reading, screening and discussion with artists Anna Lucas, Frances Scott, Monica Rivas -Velasquez, writer Leanne Turvey and convened by curator writer Joyce Cronin in a photo studio in East London Oct 2017. There have also been a reading and live printing event in a photographic darkroom at De Montfort University with Dr Stacy Boldrick, University of Leicester. It has also been the starting point for From an ox to an egg, a public screening and performance event as part of Little City Studio at Phoenix Arts Centre, Leicester Nov 2017.Item Metadata only Still Life Still Lights(2017) Lucas, AnnaWhat relationships are generated between still images and object, and the image as an object on film? How does the act of looking operate as a process of research? Still Life, Still Lights focuses on the pedagogical environment and the conditions of creative thinking & material making. The outputs embed reflexivity in their concept, process and form. The underlying research questions also address the significance of artist’s processes within our political and cultural climate. This body of work has been in development over several years during which time significant collaborations and professional working relationships have enabled a deeper understanding and a variety of contexts in which to test and progress ideas. These have included studio practice, facilitated workshops, publications, learning resources, film screenings and exhibitions, events and public activities. The practice is cited in Tate publications and essays including Looking as Research – Anna Lucas, and In Site of Conversation, Tate Publishing 2017 and was widely distributed through Serpentine Galleries Summer Pavilions 2016.. In it’s various forms it has been disseminated widely both in print, on-line and through direct engagement with the public. Existing projects/outputs as films or publications from research include Opi 21, Oopsy Daisy, Tiger Lily, Tintype Gallery exhibition and on-line presence Bench, Group Exhibition at Tintype Gallery with Sir Richard Wentworth, Turner prize winners Assemble, Borlase Smart Studio, film distributed as part of Circuit Festival, Tate St.Ives, and at The Gallery, De Montfort University curated by AMAGS MA students University of Leicester, Loose Parts, 2000 Printed objects as Learning resource and 16mm film distributed by Serpentine Gallery, London as part of the International Summer Pavilion Architecture project. Publication outcomes I have written or in which this work is cited, include Looking as research – booklet distributed online and in print by Tate Schools and Teachers In Site of Conversation – Turvey, Walton, Daly. Tate publishing 2017, Slow Reveal – Lucas, Scott, Turvey. Tintype Publishers, a limited edition artists publication for events and distribution designed by Shining Studio.