Acquiring Grant Money

24th February 2018 – Arts Council of Wales

The first place that I want to research is the Arts Council. Arts Council of Wales offer grants to both individuals and organisations.

We want to identify and nurture individuals with creative talent and we want to enable creative professionals to develop their careers and be able to earn a sustainable living in Wales from their work.

As an individual you can apply to the Arts Grants for Creative Professionals Scheme. For me the Professional Development Strand is the way to go. However, if I did attend College of Camberwell I would probably have to wait till I finish my studies before I can apply to this. The MA at College of Camberwell is classed as Extended Full Time – so it’s on a part time basis but called full time – I have to investigate what Arts Council of Wales consider this to be.

I spent quite a bit of time getting to know the rules when applying to the arts council. Eligibility Criteria appears to be as follows:

  • Must have a permanent address in Wales.
  • Over 18.
  • Not in Full time education – You are not eligible to apply if you are currently in full time education.
  • Provide evidence of artistic practice.
  • Have an understanding of equal opportunities and apply them in your work.
  • Have a Bank Account in your own name.
  • Not be in default on any financial agreement with Arts Council Wales. If you are in default You are eligible – but (You will need to satisfy any outstanding conditions before being eligible to apply. This could include returning project documentation or repaying funds.)

In relation to Arts Grants in England, Rachel Dobbs writes:

In March 2018, Arts Council England revised their previous Grants For The Arts scheme, renaming it Arts Council National Lottery Project Grants. After the massive success of (and feedback from) the original #ACECheatsheet in 2016, here’s a revised ACE Project Grants application cheatsheet for the new Project Grants scheme (2018 onwards).


Wales Arts International

Wales Arts International administers funding through the International Opportunities Fund.

IOF supports Wales based professional arts practitioners and organisations to undertake international visits aimed at the development of international work and the presentation and delivery of artistic work outside the UK. The fund operates on a rolling programme.

PRS Foundation’s International Showcase Fund

If you are an artist, band, songwriter or producer and have been invited to play an international showcasing festival or conference, you may be eligible for funding through PRS Foundation’s International Showcase Fund in partnership with Wales Arts International. Find out more about the partnership here. If you are eligible for this funding route, you may not apply to the International Opportunities Fund. Please contact us if you are unsure which funding route is best for you.

IOF Timeline

Scroll the Funding Timeline below to view a step by step summary of the process, read the guidelines and contact us before starting an online application for the International Opportunities Fund.

Grant Writing for Dummies



  • Sit down with your work associates and ask these questions: Who are our corporate vendors? What bank or credit union processes our payroll? What local funders have given us money or in-kind contributions in the past five years? Do we still have a good relationship with these funders? Can we approach them again for funding support? After you have some answers, start taking action.

  • Call and make an appointment to visit every bank in your town, city, village, and county. There’s hidden money everywhere — even at your local banks. Find out who heads up the trust department (typically a trust officer) at each institution. Trust officers manage trust accounts for living and dead money-giving individuals and families. These trusts are often not highly advertised sources of grant money. Ask and get some guidelines for finding them and applying to them for grants.

  • Stroll over to the nearest large public or university library to access the Foundation Center’s Foundation Directory Online. This is your public-access, free-of-charge source for researching foundation and corporate funding sources.

  • Network with other grant writers to find out about their funding resource subscriptions. Ask what works and check out these additional possibilities.

  • Head down to your city and county economic development agencies to find out about any public monies available (contracts or grants) for your project.

  • If you have a community foundation in your county, call to get an appointment to meet with someone there to ask about the possibility of applying for capacity building funds for your organization.With a capacity building grant, you can contract with qualified consultants for grant writing, fundraising, board training, and volunteer coordination services.

  • Don’t forget to call your governor’s office and ask about state agency grant funding and other monies that may be available for your organization or business.

  • Attend all public events where the “who’s who” crowd will be gathered and hand out business cards. Just make sure your agency’s mission and contact info are on the card!

  • Prepare and distribute a press release to all local and regional media announcing that you have a project in need of funding.

  • Most importantly, call your congressional team members to let them know more about your organization and its need for grant funding. Ask if they can start to track any federal bucks that fit your needs.


  • Use a storytelling approach (with supporting statistics) in such a compelling way that the reader can’t put down your application until she makes a positive funding decision. Make them cry!

  • Incorporate a case study of a real client your organization has served. Of course, change the name for confidentiality reasons. Show a real need of a real person.

  • Take advantage of online dictionaries and thesauruses to expand your command of new words and capture the grant decision maker’s attention.

  • Write to government funding agencies and request (under the Freedom of Information Act) copies of funded grant applications. Use these documents as examples of how to write an award-winning grant application.

  • Research proven best practices for your proposed solutions and incorporate language from the experts.

  • When you find best practices, look for the evaluation results of previously implemented programs similar to yours. Know what works and what doesn’t work before you write your proposed solution.

  • Eliminate multiple drafts from your writing habits because the most creative and “wow” words are often the first words you type.

  • Hire a proofreader or editor (or a college student) to read your writing and clean it up. Don’t have any money? Ask a trustworthy and capable co-worker or friend.

  • Write in short, hard-hitting sentences. Long-winded sentences almost always lose the reader.


  • eCivis Grants Network: This is a subscription-based service with profiles for public and private sector funders.

  • The Foundation Center: This subscription-based service for private-sector funders offers several newsletters, including Philanthropy News Digest.

  • Here, you can find government agency funding announcements for free.


Independant Study 1 – Research

Tuesday 9th January 2018

Curating the Digital

Increasingly, we use our smart phones and other digital devices to capture and curate day to day life experiences. As a cacophony of digital activity moves to the centre of human life overwhelmed by digital interactions, digital space is the place
where people spend the lion’s share of their time, curating their digitally mediated life. Although, many archivists are still thinking in terms of digital curation as a simulation of existing systems derived from physical archival practice such as the li
fe-cycle of documents, in the digital realm, judging which material is valuable is moving from the institutional domain to that of the individual curating in cyberspace where issues of physical storage become less and less relevant, so that everything captured gets saved. Often digital works are self – curating taking on a life of their own once on the Internet, where they can migrate via emails, tweets
and Facebook posts, and be remix ed and re-used to form new art.
The social impacts of individual curation are great as we all are at once, audience, participants and creators of content. We have moved our banking, shopping (Pin It with Pinterest), communicating, storytelling, and the curation of our lives to the
This paper examines some the changes that digital technology has wrought upon conceptions of space, time and culture, and how ‘new media art’ has historically reflected upon these. It suggests that such art might be better represented in institutions such as Tate, which in turn might help them engage with the question of what their own role might be in the digital age.
The digital culture we now live in was hard to imagine twenty years ago, when the Internet was hardly used outside science departments, interactive multimedia was just becoming possible, CDs were a novelty, mobile phones unwieldy luxuries and the World Wide Web did not exist. The social and cultural transformations made possible by these technologies are immense. During the last twenty years, these technological developments have begun to touch on almost every aspect of our lives. Nowadays most forms of mass media, television, recorded music and film are produced and even distributed digitally; and these media are beginning to converge with digital forms, such as the Internet, the World Wide Web, and video games, to produce a seamless digital mediascape.

Digital artworks are being brought to life in one of Singapore’s most cutting-edge art galleries, thanks to laser light source projection from Sony.

Originally founded by art dealer Ikkan Sanada in 1982, Ikkan Art moved from its original New York home to Singapore in 2011. Today, Ikkan Art Gallery presents a wide-ranging collection by international artists. The gallery showcases works across a wide range of media, from paintings, sculpture and photography to video and interactive displays.

With more leading artists looking to digital media as a means of creative expression, Ikkan Art Gallery wanted a high quality display and projection solution capable of meeting its ambitious vision.

Curatorial Practice in a Globalized World

Viewed on Youtube. I began watching the Guggenheim Symposium: Keynote: Curatorial Practice in a Globalized World and I was particularly interested in the views of Sara Raza and Pablo Leon de la Barra and found that this experience gave me much to reflect upon and consider in relation to my Dissertation topic of Diasporas, Loss and Globalization.

When curating an exhibition on the issue of Diasporic communities, the curator is in the position of being an observer, an outsider looking in at the community – in ethnographic research it is not uncommon for people to spend time with a culture to learn their traditions and beliefs and better understand the culture of the the Diasporic Community they are observing, their culture and their distinct culture in society, their behaviours, beliefs, attitudes, language and traditions through the observation of their daily lives and information gathered through other means, such as artefacts and journals. In Ethnographic Researcher, the purpose is to observe a group, empathise with the group and strengthen relationships without actually becoming a part of the group. However it does sometimes happen when a person spends time within such a group that they can become conditioned by the group culture and begin to develop the same cultural tendencies.

When a Diasporic Community is moving to a new land/country to reside it must be anticipated that there will be an element of hositility/tribalism from the resident community. Certainly in the case of the Patagonian Welsh, there must have been some resistance to their migration from the native Teheulche Indians, however they did attempt to help the Welsh settle into the inhospitable Patagonian land. This element of hostility towards migrating communities can be seen in the UK today, somewhat encouraged by the media, however there is also an element of the UK resident population that welcome the migrant communities and seek to help them become established within the UK. It can be seen that the some of the people belonging to these migrating communities have trades of worked in a professional capactity before they had to migrate from their homeland, these skills can only be seen as a positive contribution to the new society that they find themselves in.

The question of how I relate to these Diasporic Communities has been uppermost in my mind for some time. Yes I do feel that I am part of the Scottish Diaspora, I have a strong connection to Scotland that is at the core of my being something that I have been aware of since being a small child that sense of belonging to Scotland is a strong part of my earliest memories. Although born and spending my early years in Scotland, I essentially grew up in North Wales, where my maternal family are. At the age of 18, I could deny the pull of Scotland no more and I then returned and continued to live there for 25 years. I returned to Wales in 2009 and have continued to feel that strong sense of isolation from my homeland ever since.

During the symposium the Cultural Theroist, Stuart Hall was discussed and the fact that he was born in Jamacia in 1932 and lived in the UK from 1951 he felt isolated from both communities. This observation provided me with a connection for my dissertation and I began to research artists who are displaced from their homeland for whatever reason who continue to create art that reflects the bond that they still possess with their homeland.

The No Country Exhibition that Sara Raza curated on behalf of the Guggenheim. In curating such an exhibition Sara theorises that it is important to look at the problems experienced by the nation of interest and the relative geography and the fluidity of their nations borders. In modern times borders are more fluid and a new form of colonial occupation in some regions appears to be emerging. Also of interest and relevance in the dialog that exists between these trans national and trans regional cultures.

It is important to understand what is significant to the Diasporic Community on a Global level, how do they identify with their culture as a group and how do they identify as individuals. The population in a Diasporic Community have that sense of rootedness in their cultural history and traditions, Individuals who are displaced from their homeland also have the same sense of rootedness to their culture, traditions and beliefs. As an artist or curator we are rootless – represent everyone, the people.

A person or group that has moved away from their homeland can be described as having become de-coupled and this issue is part of the ongoing discussion relating to Diaspora. Something or Someone that is decoupled, is something or someone that is moved away from the centre without necessarily severing its roots – hence a community would then become it’s own autonomous entity.

In curating such an exhibition it’s important to reflect a contemporary Story that doesn’t sever origins or connections to history, that moves beyond regional specificity but show similarities between regional groups too and their connections/relationships both current and historical.

I decided it is important to note as part of my dissertation the issues of trans-nationalism and migration, focussing on artists that are no longer living in their homeland, possibly with dual passports – who have become their own entity whilst still connected to their roots.

Questions for Artists

As part of the Dissertation Research I sent the following email to both Smoking Dogs Films and Iwan Bala.

My name is Michelle Wright and I’m a student at Coleg Menai in North Wales studying BA (Hons) Fine Art with Bangor University. I’m in my Final Year and my Dissertation research is the reason for my email. As part of the dissertation process we have been asked to acquire a direct quote from a practising Contemporary Artist to include with our essay.

For my Dissertation along with the essay, I have to curate an imaginary/theoretical exhibition at an existing gallery. The title of my theoretical exhibition is Diaspora, Decoupling and Representation and I am bringing together the artists John Akomfrah, El Anatsui, Mona Hatoum and Emily Jacir.

Please may you consider the following questions and provide your opinion as a response that I may use as a quote in my dissertation.

  • In your opinion does a Fine Artist have to belong to a particular Diaspora/Minority Group in order to accurately represent them in a Fine Art context?
  • Do you believe a Fine Artist can accurately represent a Diaspora/Minority Group using ethnographic research methods?
  • If an artist uses ethnographic research to represent a Diaspora Minority Group, do you believe this can create resistance within the Diaspora/Minority Group to the Fine Artist’s work?

Finally I would like to thank you for the consideration and say that any comments you may have will be very useful and much appreciated.

Best Regards

Michelle Wright

I received two responses and used the comments from Iwan Bala in the Dissertation Catalogue.

Below is the response from David Lawson at Smoking Dogs Films.

Dear Michelle,

Many thanks for your e mail. John has done many interviews over the years and there are many on- line, including Tate shots, and a Barbican film to accompany his recent show, Arnolfini have one on their website. So please feel free to quote from any of those as he is concentrating on two new commissions at the moment.
Very good luck and best regards
David Lawson
Smoking Dogs Films
Below is the response from Iwan Bala.

Dear Michelle

This is quite a complex thesis to undertake, but here are my immediate responses;

In your opinion does a Fine Artist have to belong to a particular Diaspora/Minority Group in order to accurately represent them in a Fine Art context?

I believe that an artist not of a Diaspora/Minority Group might understand, but would find it difficult to fully empathise and express the situation honestly. So, my answer would be Yes, an artist would need to be from within the Group.

Do you believe a Fine Artist can accurately represent a Diaspora/Minority Group using ethnographic research methods?

It is a well rehearsed argument that ethnography can be dubious in its ‘outsider/insider’ dichotomy. Western intellectual claims of academic analysis are predisposed to certain assumptions. However, it may be the only way to try and understand.

If an artist uses ethnographic research to represent a Diaspora Minority Group, do you believe this can create resistance within the Diaspora/Minority Group to the Fine Artist’s work?

Certainly it can. By the end of the twentieth century, diaspora/minority groups had begun to represent themselves and became more resistant to the Eurocentricity of ‘outside’ observers and commentators.

Hope this helps.



Dissertation – Finding a Gallery

Originally I had been thinking about using Penrhyn Castle as the location for the imaginary museum because of it’s links to the slave trade, however after discussion with Helen, I settled on the Turner Contemporary in Margate, primarily because of its proximity to Dover and the connections with Dover that relate to migration, refugees and Diasporic communities.

Turner Contemporary is one of the UK’s leading art galleries.

Situated on Margate seafront, on the same site where Turner stayed when visiting the town, Turner Contemporary presents a rolling programme of temporary exhibitions, events and learning opportunities which make intriguing links between historic and contemporary art. The gallery offers a space for everyone to discover different ways of seeing, thinking and learning.

The organisation was founded in 2001 to contextualise, celebrate, and build on the artist JMW Turner’s association with Margate, Kent. In 2011, Turner Contemporary gallery, designed by Sir David Chipperfield, opened, and has fast become a visitor attraction of national and international importance.

Turner Contemporary is a catalyst for the regeneration of Margate and East Kent, already welcoming over 1.5 million visits. The vision of the organisation is Art Inspiring Change, using collaboration, learning, ambition and transformation to give everyone to access to world-class art.

“Turner Contemporary’s purpose is to stretch the boundaries of current visual arts practice, to make the exhibitions sufficiently varied and to bridge the gap between the historical and contemporary.”
Victoria Pomery, Director, Turner Contemporary

John Akomfrah, one of my chosen artists for this work has also recently exhibited there.

Sat 8 Oct 2016 – Sun 8 Jan 2017

Turner Contemporary is a partner on the UK tour of John Akomfrah’s multi-screen installation Vertigo Sea, premiered at the 2015 Venice Biennale.

A meditation on whaling, the environment and our relationship with the sea, the work is a film essay continuing the ‘recycled aesthetic’ of John Akomfrah’s recent gallery pieces, fusing archive material, original footage and readings from classical sources.

Shot on the Isle of Skye, in the Faroe Isles and in the North of Greenland and Norway, the film is inspired in part by two influential books: Hermand Meville’s Moby Dick (1851) and Heathcote Williams’ Whale Nation (1988). Also referenced is the incident on board the slave ship Zong that led JMW Turner to paint The Slave Ship almost a century later, exhibiting it in 1840 to coincide with a meeting of the British Anti-Slavery Society.

In the first instance, I contacted Jennifer Scott to ask if they possibly had any photographs to use as part of this project. Jennifer was particularly supportive and provided me with photographs to use, as long as I credit the photographers. Below is a PDF of the email thread.

The photographs Jennifer provided me with are shown below:

I also located on the internet floor plans for the Turner Contemporary from David Chipperfield Architects website.

El Anatsui

The artwork created by El Anatsui that I am including in the imaginary museum is Tsia Tsia (2013) and Diaspora (2012).

Made for the Royal Academy in 2013 and displayed on the outside of the building, Tsia Tsia – Searching for Connection by El Anatsui is made up of nine panels that measure overall 15.6m by 25m and is made from his signature chain-mail of aluminium bottle tops, printing plates announcing births, deaths and marriages and discarded roofing sheets  providing squares of vibrant colour woven together with copper wire which shimmer and gleam in the sunlight giving this piece a sense of vibrancy, akin to a curtain of light. It is only on closer inspection that you see the painstaking detail that has gone into stitching all these aluminium bottle tops together.

All the materials used are discarded items that can be easily viewed as litter, in fact the bottle tops have been collected from the streets. In transforming ordinary objects, that would normally be thrown away, Anatsui alludes to a sense of a life once lived in a different way. The piece also possess a textural freedom that cannot be replicated, suggesting a freedom from restraint and convention.

In an interview with Art News in 2015, Anatsui describes the relation he sees between the bottle tops and the history of Africa where Europeans would bring alcohol from the West Indies to trade for slaves. These drinks are now made locally in in Nigeria the bottle tops symbolize the historical connections between these two continents. Born in Ghana in 1944, El Anatsui now lives in Nigeria where he collects the materials to be included in his artwork.

The artwork Diaspora (2012), an edition of 35 plus 20 artist proofs by Anatsui is comprised on Archival dyes printed onto cotton and hand-stitched then fabricated by Dyenamix, New York.

Curatorial Writing

Curator Introductions

There is not a one-size-fits-all approach, but various methods. Here is one simplified process to put on an exhibition from start to finish. If feasible, give yourself at least six months to arrange all the necessary details.

In today’s art world, you do not need to be a museum staff member to curate an art exhibition. You could be an independent art curator and work — that’s right — independently.

A curator’s job is like a movie director’s in that you need to oversee every detail of the production so it helps to be extremely organized and that you can work well with others as it takes many skilled people to put on an exhibition.

John Akomfrah

The work of John Akomfrah that I am including in the imaginary exhibition is Auto Da Fé (2016).

Born in Ghana in 1957 to parents involved in Anti-Colonial Activism, Akomfrah, influenced by Stuart Hall has lived in Britain since the age of four and is one of the UK’s most prominent film makers, dealing with issues surrounding race, diaspora and migration, combining original footage with archival material, his films are poetic and wide reaching in an attempt to provide a voice to the African Diaspora.

Auto Da Fé (2016) is the second film installation by John Akomfrah, a poetic, enigmatic diptych that reflects upon six displaced populations that have migrated as a consequence of religious persecution during the last 400 years and right up to the present day.

Akomfrah was inspired to make this film after seeing a cemetery containing 17th Century graves of Sephardic Jewish refugees who had fled Brazil while teaching in Barbados which raised the question “How did they get here?”.

These specific migratory stories are set amidst chaos and uncertainty and reflect the precarious situations that these migrants found themselves in. Using an deliberate anonymous landscape, this film relates universally to stories of migration and religious persecution throughout the ages. Although each of these stories are from a different part of the world and a different time, there is a common theme or thread that binds these stories together. The issues that affect diasporic communities in the modern age are also issues that have affected these communities historically too.


The word diaspora comes from the Greek word for scattering seeds.

A style of post-1960s art which rejected the traditional values and politically conservative assumptions of its predecessors, in favour of a wider, more entertaining concept of art, using new artistic forms enriched by video and computer-based technology.

  • The evolution of film making as a visual art form.
  • The subject of freedom of expression from the perspective of a film maker.
  • The evolution of technology in the field of visual art.
  • Censorship on the various visual arts and why art holds such a strong influence.
  • Role of the artist to heal and transform wounded communities through
  • Healing tranformation spiritual wounds and community
  • Loss of land, loss of identity, loss of community
  • An ethnography of diasporas, loss and globalization discussing how Post Mondernist Artists across the globe seek to heal and transform spiritual wounds within a diasporic community using artistic expression to remember
  • Film making
  • Migration – Diaspora
  • Exodus
  • Movement
  • Shift
  • Activism
  • Censorship
  • Text Art
  • Ethnographic enquiry
  • Dewey
  • The ethnography of Diaspora
  • Tracing Slavery – Penrhyn – Historical influences
  • Colonialism
  • Through the eyes of a filmmaker
  • Diaspora, Trauma and Rememberance
  • Mapping
  • Diaspora, Migration and Globalization
  • spiritual activism
  • How we identify with a culture or with individuals
  • Welsh Language

Potential Artists

  • John Akomfrah
  • Ai Wei Wei – chinese
  • Xu Bing – Print Making and Installations –  –Book from the sky
  • Lamia Joreige – lebonese
  • Priya Sen
  • Trin T Min-ha

noun: diaspora

  1. the dispersion of the Jews beyond Israel.
  • Jews living outside Israel.
  • the dispersion or spread of any people from their original homeland.

plural noun: diasporas – “the diaspora of boat people from Asia”

Ethnography (from Greek ἔθνος ethnos “folk, people, nation” and γράφω grapho “I write”) is the systematic study of people and cultures. It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study. An ethnography is a means to represent graphically and in writing the culture of a group. The word can thus be said to have a “double meaning”, which partly depends on whether it is used as a count noun or uncountable.[1] The resulting field study or a case report reflects the knowledge and the system of meanings in the lives of a cultural group.[2][3][4]

artists in exile: Identity Origin and Roots:

John Akomfrah – Ghanian

Ghanaian-born filmmaker and founder of the Black Audio Film Collective. Akomfrah’s video installation over two screens looks at five centuries of migration and religious persecution.

It was inspired while he was teaching in Barbados in 2009 and he saw a cemetery containing 17th Century graves of Sephardic Jewish refugees who had fled Brazil: “I was asking ‘how did they get here?'”

Lamia Joreige

The starting point for Mathaf (Arabic for museum) from this visual artist is the collection of the destroyed National Museum of Beirut, in particular a fragment of Roman mosaic, damaged by a hole from a sniper’s bullet.


it is becoming increasingly difficult to distinguish between diasporic migrations and many other kinds of transnational migrations and movements.

Tate – Diaspora term

Jamaican-born cultural theorist and sociologist Stuart Hall, Widely known as ‘godfather of multiculturalism’, published an important essay called Cultural identity and Diaspora in 1990.

Jamaican-born cultural theorist and sociologist Stuart Hall, Widely known as ‘godfather of multiculturalism’, published an important essay called Cultural identity and Diaspora in 1990. In it he addresses issues of identity in relation to cultural practice and production and explains the experience of the migrant as one of dislocation, displacement and hybridity (a mix of experience and cultures). Through his investigations, based on the experiences of the Caribbean diaspora, he came to the conclusion that individuals have more than one identity: they have one that is based on similarities and a unity which comes from belonging to a shared culture; and one that is based on an active process of identification, that responds to points of difference and is therefore always evolving through ‘a continuous play of history, culture and power.’

Memory and Transformation

In Search of Lost Time

, by the French novelist Marcel Proust in 1909–1922, is one of the most reoccurring of influences on contemporary art. Proust mentions more than one hundred artists—from Bellini to Whistler—in the novel, referencing a great many of their works.

From Helen Jones Presentation

Autobiography: the externalization of personal memory

Tracey Emin




































Felix Gonzales- Torres
































Traces: anchoring memory through an indexical relationship with subject

Rachel Whiteread

























Cornelia Parker





























Miyako Ishiuchi: Mothers Ageing Body

























Nan Goldin: momento mori – the ballad of sexual dependency



























Doris Salcedo: The reassembing of history

The work derives from personal memories of dead and the disappeared collected first hand from the politically oppressed in Columbia

























































Post Memory: secondary memory ,constructed by the next generation

Fictive biographies archival data –personal possessions- questioning fiction and authenticity.rom Helen Jones Presentation

From Helen Jones Presentation

Christian Boltanski











































Anselm Kiefer






















Enactments: Re-enactments- Memorial

Jeremy Deller: The battle of orgreave2001 


Janet Cardiff: The missing voice

Janet Cardiff’s The Missing Voice (Case Study B) is part walking tour, part historical account, and part stream-of-consciousness narration leading you on a disorienting journey through the inner cityscape of East London.picture1

The walk lasts some 45 minutes, starting at the Whitechapel Library, where upon receiving headphones and a disc player, you follow the instructions from the narrator on the disc. The voice-over guides you to the crime section of the library, asks you to read excerpts from books, and leads you out of the library and onto the street. There, you follow instructions that take you through narrow alleyways into Brick Lane, past the old Jewish quarter into Spitalfields, and after pausing at the garden steps of a church, drops you off at the Liverpool Street tube station, where the piece ends; leaving you to puzzle your way back to the library, where the piece started.

From Helen Jones Presentation



















The Ordering of Knowlevge: Archiving

Susan Hiller: From the Freud Museum


Mark Dion: Tate Thames Dig












Other Memory Related Links

Fantasy, Memory Transformation

Cao Fei

Cao Fei’s work reflects the fluidity of a world in which cultures have mixed and diverged in rapid

Her video installations and new media works explore perception and reality in places as diverse as a Chinese factory and the virtual world of “Second Life.” Applying strategies of sampling, role play, and documentary filmmaking to capture individuals’ longings and the ways in which they imagine themselves—as hip-hop musicians, costumed characters, or digitized alter egos—Cao Fei reveals the discrepancy between reality and dream, and the discontent and disillusionment of China’s younger generation.

From Helen Jones Presentation

Matthew Barnery

He is best known as the producer and creator of the “Cremaster” films, a series of five visually extravagant works created out of sequence (“Cremaster 4” began the cycle, followed by “Cremaster 1,” etc.).mb.jpgThe films generally feature Barney in myriad roles, including characters as diverse as a satyr, a magician, a ram, Harry Houdini, and even the infamous murderer Gary Gilmore.

The title of the films refers to the muscle that raises and lowers the testicles according to temperature, external stimulation, or fear. The films themselves are a grand mixture of history, autobiography, and mythology—an intensely private universe in which symbols and images are densely layered and interconnected.

From Helen Jones Presentation

Fairy Tales, Monsters, and the Genetic Imagination

June 15, 2012 to September 2, 2012

Meghan Brody, In a Garden So Green, 1998.

Fairy Tales, Monsters and the Genetic Imagination includes approximately sixty works by contemporary artists from around the world who have conceived humanlike, animal, or hybrid creatures to symbolize life’s mysteries, desires, and fears.

The invented creatures and imaginary worlds featured in this exhibition have been inspired by oral and written sources as diverse as Aesop’s Fables, Mary Shelley’s Frankenstein, science fiction, and the products of the genetic experimentation in science. The artists selected for the exhibition redirect the emotional associations implicit in their sources–pleasure, fear, wonder, curiosity, and longing–to works of seductive fantasy and uneasy intrigue.

From Helen Jones Presentation

Glenn Brown












































Kiki Smith

Kiki Smith aligns herself sympathetically with both fallen women as well as heroines of fairy tales such as Little Red Riding Hood. Her work, Daughter (1999) provides us with multiple versions of Red Riding Hood, who is not simply heroic but fleshed out in different contexts.

From Helen Jones Presentation










































Yinka Shonibare

ysShonibare’s photograph The Sleep of Reason Produces Monsters (America) (2008), responds to Goya’s similarly titled painting from 1799, and reflects the monsters unleashed under the aegis of the Enlightenment: racism, slavery, war, economic exploitation, and other blights of Western history.

From Helen Jones Presentation

Social Transformation

Because it can take the form of sensations, images, and emotions, memory lends itself perfectly as a subject and tool for art and artists. With the idea of memory in mind, some artists try to document things exactly as they are in order to create a record for future generations. But others deliberately frame the past in different or unexpected ways to change the way we think about history. So how does art shape our collective memory of the past? And how might it inform our experience of major events in our own time?
The task of preserving memory is difficult when it comes to art, because there will inevitably be tension between an object invented by a subjective mind and the objective fact or event it is meant to depict.
Even a map can be inaccurate when drawn from just one perspective. Knowing this, many artists use art to tell stories about personal and cultural memory that are open to interpretation, that reframe the past not as a fixed narrative but as a multiplicity of voices from diverse points of view. This allows us to think twice about our history and how it has been shaped, and how we might best document things to come.
Some art engages with memory by trying to erase it entirely, as in the case of Michael Landy’s performance Break Down, in which he catalogued every item in his possession before destroying them in a public event. Similarly, Swiss artist Jean Tinguely was known for creating a sculptural machine that was designed to destroy itself completely. Some art, like time-based and performance art, never even exists in a fixed space and seems to disappear entirely when not being performed. But the ephemeral nature of this art only strengthens its connection with memory, which is where you could say it actually resides.

Armita Raafat

Suggesting ruined architecture—perhaps reclaimed by the advance of moss, veiny root systems, and other subsuming devices of nature—the mixed media sculptures of Armita Raafat hint at unsettling narratives and an ambiguity between beauty and entropy.

Displayed as both stand-alone pieces and installations, her works combine papier-mâché, plaster, styrofoam, mirrors, mesh, and fabric into what look like the scattered ruins of a mosque, shrine, or high-rise building. The textured, flour-white surfaces are often flecked with purple, turquoise, and indigo pigments—as though the once-splendid colors were slowly being bled out.

Born in Chicago and raised in Iran, Raafat returned to the United States to receive her MFA from the Art Institute of Chicago in 2008. The formative years she spent in Iran were marked by the Iran-Iraq war, an arduous and drawn-out period of conflict for Iran which one can sense ever present in Raafat’s exploded and deconstructed installations.




































For all its balance and craft, Raafat’s work has also been dismantled by the artist’s hand, décollage-like, to create the effect of ruins and decay. The works is war-battered, abandoned.

There is a sense of memory, of things lost, even of melancholy, in the entropy of her work. Yet there is also an aesthetic pleasure taken in this corrosion that soothe the darker implications. There is a quality about these sculptures that you find in beautiful patinas of rust and oxidization, or in the fragments of great, ruined cities like Ancient Corinth or Persepolis.

It is the ambiguity of Raafat’s works which compels me to linger on them. The deconstruction of them is just as pleasant as their craftsmanship, teetering between nature and artifice, and not settling on either. (Alessandro Keegan)

Suheir Hammad

I will not dance to your war drum…I will not kill for you. Especially, I will not die for you

These impassioned odes to the suffering of women worldwide echo the hurt Suheir Hammad has witnessed and the knowledge she has gained through her Palestinian-American heritage. Her poems are a voice for all women who suffer such pain.





I will not dance to your war drum.
I will not lend my soul nor my bones to your war drum.
I will not dance to your beating.
I know that beat. It is lifeless.
I know intimately that skin you are hitting. It was alive once hunted stolen stretched.
I will not dance to your drummed up war.
I will not pop spin beak for you.
I will not hate for you or even hate you.
I will not kill for you. Especially I will not die for you.
I will not mourn the dead with murder nor suicide.
I will not side with you nor dance to bombs because everyone else is
dancing. Everyone can be wrong. Life is a right not collateral or casual.
I will not forget where I come from.
I will craft my own drum. Gather my beloved near and our chanting will be dancing. Our humming will be drumming.
I will not be played.
I will not lend my name nor my rhythm to your beat.
I will dance and resist and dance and persist and dance. This heartbeat is louder than death. Your war drum ain’t louder than this breath.

James Nachtwey – My Photgraphs Bear Witness

Inspired by the photojournalists of the 60s, James Nachtwey has gone on to be the pre-eminent photographer of our generation. His work is often harrowing, always symbolic, and, at times, hopeful. His photographs have not only exposed world issues and inspired conversations on them, but also so enraged public opinion that they have truly helped to change the world.

Photographers go to the extreme edges of human experience to show people what’s going on…. They aim their pictures at your best instincts: generosity, a sense of right and wrong, the ability and the willingness to identify with others, the refusal to accept the unacceptable.






































Other Artists