LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Languages: English
Types: Other
Subjects: W100
Cast Contemporaries is an exhibition that explores contrasting responses to the fate of plaster cast collections in art schools. Many contemporary artists question the relevance of preserving reproductions of antique sculptures, anatomical figures and architectural details. However a growing number of young and emergent practitioners are rethinking the role of these historic educational resources. Edinburgh College of Art has one of the most important cast collections in the UK and, following a two year project in which this unique legacy has been conserved and researched, Cast Contemporaries considers the casts as catalysts for future visual arts experimentation. The exhibition, which reinterprets Edinburgh’s casts with contemporary artworks, is a collaboration between Chris Dorsett, an artist based at Northumbria University whose exhibitions combine contemporary fine art practices with museum display, and Margaret Stewart, curator of the Collection at the College. \ud \ud Dorsett was appointed Honorary Research Fellow at Edinburgh University to curate this exhibition for the 2012 Edinburgh Festival. The 29 contributing artists included: Christine Borland, Gareth Fisher, Kenny Hunter and Alexander Stoddart. \ud \ud A sixty page illustrated catalogue has been produced with 3 essays:\ud 'Contemporaneity: having been there' by Chris Dorsett\ud 'Athena in "The Boeotia of the North"' by Bill Hare\ud 'The Cast Collection at Edinburgh College of Art' by Margaret Stewart\ud \ud More information is available on the project website: http://castcontemporaries.weebly.com/
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 2. Barthes, R. (1977) 'The Rhetoric of the Image', in S. Heath (ed.) Image, Music, Text: Essays Selected and Translated by Stephen Heath, pp 32-51, London: Fontana. For a discussion that links Barthes concept of having-been-there to the relationship between a positive impression and a negative mould see: Platt, V. (2006) 'Making an Impression: Replication and the Ontology of the Graeco-Roman Seal Stone', Art History, Vol. 29. No. 2, April 2006, pp. 233 - 257.
    • 3. The Cast Collection Conference, 9th -11th September 2011. See http://www.eca.ac.uk/casts/Cast%20Collection%20International%20 Conference%202011.pdf Accessed 8 July 2012.
    • 4. See http://whitecube.com/artists/antony_gormley/text/antony_gormley_the_raising_of_lazarus/ Accessed 8 July 2012.
    • 5. Krauss, R. E. (1978) 'Sculpture in the Expanded Field', in The Originality of the Avant-Garde and Other Modernist Myths, Cambridge MA: The MIT Press, 1985, pp. 276-290, 277.
    • 7. See Rancière's exploration of the silent 'language of stone' in Victor Hugo's novel Notre-Dame de Paris. Rancière, J. (2011) Mute Speech: Literature, critical theory, and politics, New York: Columbia University Press.
    • 8. Jesson, A. (2012) 'Christine Borland', Peel: Visual Arts Magazine. Issue 3, 2012, pp. 11 - 12.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article