Visualise: Making Art in Context
January 20, 2014 by Giles Lane · 3 Comments
Anglia Ruskin University has published a book, edited by Bronac Ferran, reflecting on the Visualise public art programme. We have contributed a short piece describing our Lifestreams collaboration with Philips Research.
Visualise: Making Art in Context
Published by Anglia Ruskin University
Edited by Bronac Ferran
Designed by Giulia Garbin
ISBN: 978-0-9565608-6-5
Published 28th November 2013
Copies can be ordered from : Pam Duncan, Bibliographic Services Manager, University Library, Anglia Ruskin University
The book brings together essays by artists featured in the Visualise public art programme, which took place from Autumn 2011-Summer 2012 across Cambridge, managed by Futurecity with guest curator Bronac Ferran. It includes reflections on the development of the programme by Professor Chris Owen Head of Cambridge School of Art and from Andy Robinson of Futurecity on the role artists can play in our cities ecology and contested public realm. Among the essays are newly commissioned pieces relating to poetry, composition, music, code, language and place by Liliane Lijn, Eduardo Kac, Tom Hall, Alan Sutcliffe and Ernest Edmonds as well as interviews with Duncan Speakman and William Latham, reflections on two art and industry collaborations by Bettina Furnee and Dylan Banarse, and Giles Lane of Proboscis and David Walker of Philips Research and a previously unpublished holograph by Gustav Metzger.
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 through Cambridge’s streets, parks and arcades, this publication conveys some of the myriad happenings which characterised Visualise; a programme of public art, curated for 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 engagement through 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.
