The Bower Blog


Just showing posts from October 2013

Interpreting Ceramics 

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UWE’s Dr Matthew Partington has had a book chapter included in Interpreting Ceramics published by Wunderkammer Press.  

The chapter, Espresso, Exoticism and Earthenware: the coffee bar ceramics of the Picassoettes, 1952 – 1960, charts the birth of coffee bars in Britain and explores the design influences upon them. The principle focus is the work of three artist potters who made ceramics for a number of the coffee bars and whose work represented a unique meeting of art, design and commerce. Drawing on oral history interviews with the artists and previously unpublished photographs, Partington discusses how those who worked on the coffee bar interiors operated: how the commissions came about, how the overall design schemes worked and what the finished interiors were meant to do.  

Interpreting Ceramics, Selected Essays demonstrates the diverse interests explored by a range of international writers on ceramics since the year 2000. The essays were originally published on-line in the journal Interpreting Ceramics and have been selected to represent the first ten years of the journal content. Written by practitioners as well as leading academics, they vary in length, tone and approach. Some were accepted for publication through the journal s normal peer-review process, others began life as conference papers and others were submitted in response to special initiatives such as the Speak for Yourself project. Collectively they reflect the vibrant and scholarly debate that has characterised the web pages of Interpreting Ceramics and underline its contribution to the field.

The Man Who Got Carter 

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UWE’s Dr Andrew Spicer has a new co-authored volume with Dr Anthony McKenna – The Man Who Got Carter   


Michael Klinger was the most successful independent producer in the British film industry over a twenty year period, from 1960 to 1980, responsible for 32 films, including classics such as Repulsion and Get Carter. Despite working with many famous figures, including Michael Caine, Claude Chabrol, Mike Hodges, Lee Marvin and Roman Polanski, Klinger's contribution to British cinema has been ignored. This definitive book on Klinger, largely based on his previously unseen personal papers, examines his origins in the Sixties' Soho sex industry, sexploitation cinema and 'shockumentaries', through to major international productions, including Shout at the Devil. It reveals how Klinger deftly combined commercial product - the popular 'Confessions' series - with artistic, experimental cinema and highlights the importance of his Jewishness. The book also assesses the essential, often misunderstood role played by the producer. 


This book, published by I.B.Tauris, is one of the outcomes of an Arts and Humanities Research Council funded project which has made a valuable resource available to scholars through establishing a permanent archive with a catalogue, key documents and interviews accessible online. The Man Who Got Carter, will restore Klinger to his rightful place as an important figure in post-war British cinema. It provides an in-depth understanding of the varied functions of the film producer whose role has been misunderstood and neglected within Film Studies. This study of Klinger, and the other journal articles and chapters in book collections that have already been published, make an important contribution to the resurgent interest in British cinema and culture in the 1970s, just beginning to be recognised as a rich and diverse period but one that lacks systematic and rigorous studies. The detail provided by the case study of Klinger will illuminate many of the key issues and problems faced by British film-makers during a period of uncertainty and profound change. The specific focus of the project will also connect with wider current concerns about the relationship between creativity and commerce and the nature of the Creative Industries.

3D Printing for Artists, Designers and Makers 

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Professor Stephen Hoskins presents his new book, 3D Printing for Artists, Designers and Makers, published by Bloomsbury.

21st November 2013 6-8pm at Londonprintstudio
425 Harrow Road London W10 4RE

Rapidly gaining popular attention, 3D printing is viewed as the next life changing technology. This book explains how the creative industries are directly interfacing with this new technology and how it is changing the practices of many artists and designers across the globe. A selection of case studies of leading practitioners in their respective disciplines reveals this fascinating process in action.

The book also introduces the groundbreaking research by Stephen Hoskins and his 3D team at the Centre for Fine Print Research, world leaders in the development of techniques for 3D printing in ceramics, and includes a history of 3D printing, from its origins in aerospace to its current, diverse applications in bio-medics and Formula One racing, through to furniture design and jewellery.

A fascinating investigation into how the applied arts continue to adapt to new technologies, this book is for academics and 3D print users from both the arts and science backgrounds, as well as artists, designers, those in creative industries and anyone who has an interest in new technological developments.  

Professor Stephen Hoskins is the Hewlett Packard Professor of Fine Print and Director of the Centre for Fine Print Research (CFPR) at the University of the West of England Bristol, UK. Apart from being a practising printmaker, his primary areas of personal research are in the tactile surface of the printed artefact and its consequences for digital technology, plus the potential of rapid prototyping and digital technologies for the applied arts. He is the author of Inks Waterbased Screenprinting and 3D Printing for Artists, Designers and Makers.


Slavery and the British Country House 

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A new book Slavery and the British Country House published by English Heritage includes a chapter by UWE’s Dr Shawn Sobers and Rob Mitchell, Re:Interpretation: the representation of perspectives on slave trade history using creative media. This chapter gives an account of their work with the National Trust and community groups to re-interpret the South­ West's connection to this aspect of history, using creative media.
There are few things more emblematic of England's heritage than the great country houses which grace our landscape. But such properties are not to be viewed simply as objects of architectural and curatorial or artistic interest. They are also expressions of wealth, power and privilege and, as new questions are being asked of England's historic role in the Atlantic world, and in particular about slavery, new connections are being unearthed between the nation's great houses and its colonial past. In 2007 English Heritage commissioned initial research into links with transatlantic slavery or its abolition amongst families who owned properties now in its care. This was part of the commitment by English Heritage to commemorate the bicentenary of the abolition of the British transatlantic slave trade with work that would make a real difference to our understanding of the historic environment in the longer term. The research findings and those of other scholars and heritage practitioners were presented at the 'Slavery and the British Country House' conference organised by English Heritage in partnership with the University of the West of England, the National Trust and the Economic History Society, and which brought together academics, heritage professionals, country house owners and community researchers from across Britain to explore how country houses might be reconsidered in the light of their slavery linkages and how such links have been and might be presented to visitors. Since then the conference papers have been updated and reworked into a cutting edge volume which represents the most current and comprehensive consideration of slavery and the British country house as yet undertaken.

Femininity, Time and Feminist Art 

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Dr Clare Johnson has a new book out Femininity, Time and Feminist Art published by Palgrave Macmillan.  

This monograph is the result of ten years of research, which included the completion of her doctorate in 2008. It investigates feminist art of the 1970s through contemporary art made by women, but works against the grain of dominant art historical narratives - which conventionally rely on influence and chronology - to examine less obvious but often more significant connections between women artists of different generations. Femininity, Time and Feminist Art proposes fresh arguments about how feminist art history tells its own story and what constitutes ‘critical’ art practice. The book employs an innovative methodological approach in which contemporary artworks, some of which are positioned at the margins of feminism, become the source for understanding earlier feminist art, thus providing new interpretations of artworks framed by a broader enquiry concerning the ways in which femininity can be understood in relation to time and historical change.  

As part of Palgrave Macmillan’s well-established Culture and Media series, Johnson’s monograph contributes to a new understanding of feminist art history, feminist theory and the evolution and significance of women’s art practice. It engages with current debates that revisit the feminist movement of the 1970s traversing several disciplines - art history, cultural studies and women’s studies - and also curatorial practices as shown by the exhibition WACK! Art and the Feminist Revolution, MOCA, Los Angeles, 2007, a comprehensive, historical exhibition to examine the international foundations and legacy of feminist art.   
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