Dear New Media friends and colleagues
I am delighted to invite you to the launch of a new book which I have
edited, called 'Visualise: Making Art in Context', which will be launched
at the Ruskin Gallery in Cambridge, on Friday 29th November, between 4.30pm
and 6.00pm (speeches at 4.50 pm). It relates nicely to some of the themes
recently explored on this list relating to art history, time and evolution.
The book has essays by some of the artists featured in the Visualise
programme of exhibitions and events which took place from Autumn
2011-Summer 2012 in and around Anglia Ruskin University in Cambridge with
reflections on the development of the programme by Professor Chris Owen
Head of Cambridge School of Art and Andy Robinson, Project Manager of
Visualise and Director of Futurecity's Cambridge office. Among the essays
are newly commissioned pieces relating to poetry, composition, music, code
and language by Liliane Lijn, Eduardo Kac, Tom Hall, Alan Sutcliffe and
Ernest Edmonds as well as interviews with Duncan Speakman and William
Latham, a reflection on an art and industry collaboration by Giles Lane of
Proboscis and David Walker of Philips Research and a previously unpublished
holograph by Gustav Metzger. The ISBN number for this new publication is ISBN:
978-0-9565608-6-5 and publication date is 28th November, 2013. Contributors
to the book will be available to sign copies which will be free to
attendees to the launch. It has been published by Anglia Ruskin University
and designed by Giulia Garbin.
About Visualise: Making Art in Context
From tales of a transgenic green bunny to a singing painting, from
computer-generated lifecharms to a soundwalk at dusk in Cambridge's
fashionable arcades, this publication conveys some of the myriad happenings
which characterised Visualise a programme of public art, curated at Anglia
Ruskin University in 2012. Funded by the University from Percent for Art
sources, Visualise brought new life to hard streets, providing
opportunities for public engagment in challenging visual art and sound
installations, temporary events and exhibitions. It connected in direct and
indirect ways to perceptions of Cambridge as context and site of scientific
discovery and technological inventiveness. The book weaves the history of
Cambridge School of Art and the Ruskin Gallery (the place where Syd
Barrett of Pink Floyd played his first gig and Gustav Metzger, renowned
founder of auto-destructive art, had his first arts education before the
end of the Second World War) with today's digital developments. A series of
newly commissioned essays provide intriguingly personal insight into how
world-leading international and local artists create lasting 'mark and
meaning' (Eduardo Kac) working in contexts of historical time as well as in
physical space.
Any questions do get in touch.
Many thanks
--
Bronaċ
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