This post announces the start of a new collaborative research project that I will be working on during the Spring/Summer with Tate Britain. This project is part of the ‘Hidden Collections – From Archive to Asset’ programme, funded through the AHRC’s Digital Transformations theme.
Launched in October last year, the Hidden Collections programme has developed through a series of six interdisciplinary workshops investigating issues within archival digitisation and exploring the potential of digital platforms as routes for public engagement with these ‘hidden collections’.
Looking at digital opportunity in the specific context of archaeological artefacts, theatre performance and visual images, the workshops I’ve attended have been a great opportunity to meet with and hear from arts and humanities scholars from a wide range of disciplines and specialisms. Together we’ve considered the philosophy of the archive, and looked at and discussed a whole range of digital approaches and tools, from 3D scanning, to interactive touchscreens, online databases, crowdsourcing projects and social media.
These discussions were brought together earlier this month in an intensive two-day residential in Nottingham. Here the various project teams began work on planning the live projects that we will be delivering with our external partners. For the Image group, a small interdisciplinary team including myself and four other PhD researchers from Leicester, Birmingham and Cambridge universities, our project partner is Tate Research. Over the next few months we will be working with Helen Griffiths, from the Research Team, to develop and trial a new social media strategy for the Tate Britain exhibition ‘Basic Design’. Developed through Tate Research’s ‘Art School Educated’ project, the exhibition opens at Tate Britain at the end of March and runs through until September.
Interestingly, in relation to my own research on public art in NewcastleGateshead, the ‘Basic Design’ exhibition has a specific link to Newcastle University, through the influence of Victor Pasmore and Richard Hamilton’s teaching in the Fine Art department here. On a more personal level, the subject of the Art School Educated project, examining the evolution of British art school education, also resonates with my own background as an art student during the 1970s-80s.
The Image group will be visiting Tate Britain in April to visit the exhibition and to finalise our project plan with the Tate team. I will be posting updates on this blog as the project develops.