ANNE REIMERS 2017
Using Kracauer’s essay ‘Photography’ as a starting point, this article, for the academic journal, Art History, argues that Otto Dix’s Portrait of the Dancer Anita Berber (1925) should be understood as an intervention in Weimar Modernity’s discourse about the relevance of painted portraits in an image economy increasingly dominated by photographic reproductions.
SHELLY GOLDSMITH 2017
An internal and external cloth landscape explores the psychological theory ‘Locus of Control’ through a series of drawings and photographs printed onto the inside and outside surfaces of the dress form. Focusing on 2 locations, Ohio, USA and the Thanetian Coast, Kent, the work is an investigation into the construction of the sense of self.
EVELYN BENNETT AND REBECCA WATERWORTH 2017
Light Dial was a collaboration between the Rambert Dance Company, Collectress and the artists (Evelyn Bennett and Chris Rutter) to design and make wearable sculptural costumes for the dancers and performers in a new piece of work. Fabric with original designs were printed and made into the costume pieces.
EVELYN BENNETT 2016
Evelyn and her artistic collaborator, Chris Rutter, exhibited a large scale collage at the Festival and ran a workshop for members of the Collagistas community and the general public. This was also partially funded by the British Council.
EVELYN BENNETT 2017
The use of collage in textile design and poetry was explored with a digitally printed fabric book of cut-up poems.
ADAM KNIGHT 2017
Four UK based British artist used A-Z West as a test site for the production of 14 live broadcast artworks. Over a two-week period, live artworks were broadcast daily from A-Z West to UK subscribers, directly to their desktop/tablet as pop-up windows and the via Field Broadcast’s app.
ADAM KNIGHT 2016
This research project is derived from a researched transcript outlining 360 sites of architecture from the German Democratic Republic. It is leading towards a book, to be published by M Books, Weimar, Germany in 2017/18, which will be showcased at fairs and stocked in art and architectural bookstores across Europe.
ANNE REIMERS 2016
Using Kracauer's essay 'Photography' as a starting point, this article argues that Otto Dix's Portrait of the Dancer Anita Berber (1925) should be understood as an intervention in Weimar Modernity’s discourse about f the relevance of painted portraits in an image economy increasingly dominated by photographic reproductions.