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Millbank, United Kingdom

Thomas J.,University College London | Townsend J.H.,University College London | Hackney S.,University College London | Strlic M.,Tate
Polymer Degradation and Stability | Year: 2010

The photo degradation of watercolour drawings prepared with madder lake pigments on gelatine-sized paper was studied by chemiluminometry, viscometry, and colorimetry. A method of recto irradiation and verso measurement was developed to overcome absorption of the emitted photons by the paint layer. A complex relationship between paper substrate, applied chromophores and associated transition metals was observed with strong correlations between the presence of transition metals associated with the madder lakes and the degradation of the paper substrate and the applied paint layer as well as evidence of pro-oxidative activity by the chromophores in the applied paint layers. The pro-oxidant behaviour appears to be dependent on the type of transition metal present. This is the first in-depth research into the photodegradation of madder lake-based watercolours which attempts to understand the chemistry of the processes.© 2010 Elsevier Ltd. All rights reserved. Source


Willneff E.A.,University of Manchester | Ormsby B.A.,Tate | Stevens J.S.,University of Manchester | Jaye C.,U.S. National Institute of Standards and Technology | And 2 more authors.
Surface and Interface Analysis | Year: 2014

Works of art prepared with acrylic emulsion paints became commercially available in the 1960s. It is increasingly necessary to undertake and optimise cleaning and preventative conservation treatments to ensure their longevity. Model artists' acrylic paint films covered with artificial soiling were thus prepared on a canvas support and exposed to a variety of wet cleaning treatments based on aqueous or hydrocarbon solvent systems. This included somewith additives such as chelating agents and/or surfactants, and microemulsion systems made specifically for conservation practice. The impact of cleaning (soiling removal) on the paint film surface was examined visually and correlated with results of attenuated total reflection Fourier transform infrared, XPS and near-edge X-ray absorption fine structure analyses - three spectroscopic techniques with increasing surface sensitivity ranging from approximately - 1000, 10 and 5 nm, respectively. Visual analysis established the relative cleaning efficacy of the wet cleaning treatments in line with previous results. X-ray spectroscopy analysis provided significant additional findings, including evidence for (i) surfactant extraction following aqueous swabbing, (ii) modifications to pigment following cleaning and (iii) cleaning system residues. © 2014 The Authors. Surface and Interface Analysis published by John Wiley & Sons, Ltd. Source


Grant
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 23.75K | Year: 2008

Summary\n\nNew Media Art describes certain kinds of art practise that exploits the potential of various digital media technologies. What we might consider to be contemporary Intermedia Art moves amongst and between these media technologies and other performative forms and, in so doing, raises key questions about creative, institutional and audience engagement with the visual. These topics, and notions of performativity and authenticity, will be explored by this Network. The elements that may be found in New Media Art might include durational and time-based works, art which is screen-based, sometimes with a strong narrative and sometimes philosophically conceptual. Notions of authorship and authenticity have for so long been central to most western theories of art and the challenge comes in understanding which categories should be applied to a work of digital art when the format of the original is unclear, where it is technically impossible to distinguish between the original and subsequent versions and when it is impossible to confirm how many versions or editions exist? Given these mystifying circumstances and ambiguities, how might performativity be understood in relation to such art? If we cannot be sure what we are engaging with, how can we relate to or comprehend the position of the author responsible?\n\nThe Network will exploit Tates unrivalled position in relation to the acquisition, technical management and understanding of Art,, establishing an interdisciplinary forum to set out what will be the key research questions in the subject area of New Media Art. Museums displaying contemporary art are increasing challenged by the rapid pace of change and technical innovation associated with New Media Art / the kinds of spaces that will be needed, the kinds of technical infra-structure and the kinds of interpretation that will best suit its audiences? \n\nA form of art that eludes familiar and accepted categories demands the attention of scholars from an equally wide range of disciplines, hence the decision to constitute the Network as an interdisciplinary body and use the significant potential of Tate On-line to disseminate the findings to wider audiences. The core participants of the Network will include artist-practitioners, scholars in various disciplinary fields, both established and at postgraduate levels, as well as curators.\n\nThe Network will convene at Tate Modern on five occasions over a two-year period. Each meeting will have a theme and for each meeting a small working group will be charged with the production and dissemination of interim findings towards the publication of a final Summary Report. The programme will open with a meeting about performativity and intermedia in relation to the historical and critical positioning of New Media Art and at Meeting Two, the topic will be authenticity and the challenge that ambiguity with regard to authorship, originality and value represents to gallery and art museum acquisition policies. At Meetings Three and Four , the Network will consider the key material and practical museological questions of architectural space and technical infrastructure as well as the potential of non-physical digital platforms before turning finally at Meeting Five to the business of commissioning and displaying New Media Art.\n\n Following the final meeting, the Principal Investigator will oversee the final editing of each Research Report arising from the five meetings of the Network to produce an invaluable set of working and position papers in a field that will have immediate application to ongoing research projects and disseminated via Tate On-Line.\n


Grant
Agency: GTR | Branch: AHRC | Program: | Phase: Research Grant | Award Amount: 23.00K | Year: 2008

Contemporary art offers a unique perspective on what it means to live during the advanced stage of globalisation. Consider, for instance, the bleak photographs of Palestinian artist Ahlam Shibli, which document Bedouins living in unrecognized villages in Israel; or those of Moroccan artist Yto Barrada, which investigate the Strait of Gibraltar as a zone of migration between North Africa and Southern Europe; or the stunning yet disturbing videos of British artist Steve McQueen, which record the conditions of migrant laborers in a coal mine in South Africa. \n\nThis workshop series will explore how contemporary art investigates the traumatic and violent conditions of war and terrorism today. It will also consider the uprooted social conditions in todays global society, during a period when refugees--whether fleeing from war zones or from dire economic circumstances--are changing the social makeup of cultures worldwide. How are artists confronting these conditions? How have they negotiated the uneven social spaces--of social, political, economic inequality--that have driven demographic shifts? Why has photography, video, and internet-based art become the foremost mediums of artists who focus on the reality of war? How have artists produced an image repertoire that contests the spectacularization of mass media representations and governmental publicity when it comes to the experience of military conflict?\n\nThese questions form the basis of a series of workshops, which will gather an international grouping of art historians, architects, media theorists, art critics, and curators to consider how contemporary art relates to four key subjects of globalisation: the representation of global warfare in the age of terrorism; the status of refugee experience; the international geographies of exclusion and inequality; and the possibilities for the formation of diasporic social relations. \n\nEach workshop will comprise two parts: a public seminar of presentations by select invited participants; and an informal closed-door discussion session between participants. This organization intends to maximize the potential for interactions between both diverse audiences--the interested public, students, gallery-goers, academics--and workshop participants. In order to reach diverse publics, sessions will be held at several locations in London, including University College London in Bloomsbury, and at the following sites: Tate Modern in South Bank, Tate Britain in Londons West End, and the Institute of International Visual Arts (InIVA) in the East End.


Trademark
Edwards and Tate | Date: 1998-12-23

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