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18th and 19th-century British works of art
The gift of Henry Vaughan to UCLThe Collections of UCL Art Museum are particularly rich in 18th and 19th-century British works of art. Many of these were part of the 1900 gift of Henry Vaughan to UCL. Vaughan was a renowned collector of old master prints and drawings and of 18th and 19th-century British art, who left oil paintings by Turner and Constable to the National Gallery and drawings by Michelangelo to the British Museum. The small but significant collection of British watercolours given to UCL by Vaughan includes works by Turner, de Wint, Cox and Rowlandson, and he also gave significant groups of prints by Turner and Constable to the collection. Vaughan presented UCL with a fine set of proofs from Turner's Liber Studiorum, including the rare mezzotints from the Little Liber, and an excellent group of working proofs from Constable's English Landscape Scenery. The gift of Henry Vaughan had a didactic intention and his will specifically stated that the prints and drawings were intended for the use of the students at the Slade School of Art.WrightThis drawing was made while Wright was in Italy on his Grand Tour. Unlike many of his fellow Grand Tourists, Wright was not as interested in the Renaissance art to be found in Italian cities as in the light effects he encountered on his travels. The most spectacular of these were a fireworks display and an eruption of Vesuvius, both of which he painted on his return.Rather than present the Colosseum from the side or above, the more usual viewpoints, Wright has shown the maze of corridors encircling the central space. This has allowed him to observe the interplay of light and shade: the sunlight which floods from the arena through the arches, and the deep shade of the interior.TurnerTurner produced this print shortly after his return from Italy, where Paestum was the most remote classical site he had visited. It comes from his unpublished Little Liber series, the sequel to his earlier Liber Studiorum (Book of Studies), a series of over 100 prints intended as a guide to the study and practice of landscape art. These prints were organised under the headings Historical, Mountainous, Pastoral, Marine and Architectural.There are only twelve Little Liber prints, and all of them depict effects of light and weather. Rather than employing professional printmakers, Turner engraved these plates himself. He worked in mezzotint, an entirely tonal print technique which was well suited to the depiction of dramatic contrasts between dark cloud and bursts of light.
3D Petrie
The 3DPetrie project looked at the viability of using high quality 3D images of museum collections to engage a range of audiences.  This took place through the production of 3D models of Petrie Museum artefacts and the development of end-user digital 3D applications.Since 2009, The Petrie Museum of Egyptian Archaeology at UCL, in collaboration with UCL's Department of Civil, Environmental and Geomatic Engineering and business partner Arius 3D, has been developing this groundbreaking programme for creating 3D images of objects in the Petrie collection.The aims of the projects:To develop a viable workflow for the production of high quality 3D models of museum objects, in particular using colour laser scanning.To develop a range of digital 3D applications that will engage audiences.To undertake audience evaluations of the 3D models and applications to better understand the potential of 3D in cultural heritage.This selection of our most recent publications over the past 2 years show our expertise and research in 3D imaging for museums and cultural heritage. e-brochure: Hess, M. , Nelson, T. , Robson, S. (2013). The Science of 3D [Digital scholarly resource].Payne, E.M., 2013. Imaging Techniques in Conservation. Journal of Conservation and Museum Studies, 10(2).  Nelson, T. and MacDonald, S.: “A Space for Innovation and Experimentation: University Museums as Test Beds for New Digital Technologies” in Academic Museums: Beyond Exhibitions and Education; “Viral Capacity Building for Innovation” in British Council Creative and Cultural Economy; (Autumn 2012) Publisher LinkGiacometti, A., Campagnolo, A., MacDonald, L., Mahony, S., Terras, M., Robson, S.,  Gibson, A. (2012). Cultural heritage destruction: Documenting parchment degradation via multispectral imaging. Proc. of Electronic Visualisation and the Arts (EVA 2012), 301-308.Macdonald, S., Hess, M., Robson, S., & Were, G. (2012). 3D Recording and Museums. In C. Warwick, Terras, Nyhan (Eds.), Digital Humanities in Practice (pp. 91-115). London, UK: Facet.Hess, M., & Robson, S. (2010). 3D colour imaging for cultural heritage artefacts. International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, XXXVIII (Part 5), 288-292.Find out more here http://www.ucl.ac.uk/3dpetriemuseum
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Adopt a specimen
Become a Friend of the Grant Museum and help ensure the collection's continued success and survival in many ways. The Friends programme helps fund ongoing projects including conservation, documentation and the renovation of displays. In addition, funds raised through the Friends programme will enable new and exciting projects to be initiated, such as those geared towards widening participation and improving access to the collection for all.[[{"fid":"2541","view_mode":"default","fields":{"format":"default","field_file_image_alt_text[und][0][value]":false,"field_file_image_title_text[und][0][value]":false,"field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","attributes":{"height":"854","width":"1280","class":"media-element file-default"},"link_text":null}]]Benefits of becoming a FriendMembership lasts for one year, after which it can be renewed. Benefits include:The adoption of a specimen with an adoption certificateYour name on the specimenInvitations to our great events programmeReceive e-newsletters with exciting goings on at the Grant MuseumAn annual outing to places of historic and scientific interest.To become a Friend and adopt a specimen, or make an adoption as a gift, please download, complete and return the adoption form (104kb pdf). Or, alternatively, please visit our shop page to buy membership online.  Gift Aid is an additional way to support the Grant Museum at no extra cost to you. If you are a UK taxpayer, this means for every pound you give, we get an extra 25 pence. All we need is your consent by signing and dating the Gift Aid declaration in the above adoption form. Please note that Gift Aid is not applicable on gift memberships, unless the person buying the membership is the parent/guardian of a child recipient, or is also receiving the membership, e.g. as part of a family membership.When making your choice, please see our list of orphan specimens below which are available for adoption. We advise you to select three specimens in order of preference in case your first choice is no longer available.Adoptions orphan listBirdsCassowary heartDucklingGuineafowl skeletonOstrich eggOstrich skullPigeonRhea skullMammals Big cat skullCommon tenrecDog skull Dolphin skull Dugong skullMonkey brainPig skull Sheep skull Tapir skullReptiles and Amphibians CaecilianChameleonFalse gharial skullFrog skeletonGaboon terrapin skullGeckoNile monitor heartOlm Python headRed eared slider turtle SkinkSea turtle skullSea turtle shellFishAngel sharkCommon eel Freshwater butterflyfishGarpikeLamprey Lungfish Spiny dogfish skullTriggerfish Two-banded seabreamZebrafishInvertebrates Blaschka glass model of a sea cucumberBlaschka glass model of a slugBobtail squidButterflyCockroachGiant millipedeHooded grasshopperLeeches Nautilus shell Peppered mothScorpion Scorpion conch shell Starfish
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Art Schools: Invention, Invective and Radical Possibilities
Friday 11 June and Saturday 12 June 2010, 10am - 6.15pm, UCL Chadwick Lecture TheatreThis conference will consider the intellectual apparatus and physical spaces that structure art education today by exploring the history and legacy of the life room as both physical and intellectual space, and examining the traditions of looking and approaches to knowledge it established. Speakers will include academics, curators and artists. See below for full conference programme.The conference is organised by UCL Art Museum, the Royal Collection and the University of Brighton in conjunction with Naomi Salaman's exhibition Looking Back at the Life Room at the Strang Print Room, UCL.Conference Programme9.30 - Registration and coffee10.00 - Introduction10.15 - Caravaggio, Annibale Carracci and life drawing in Baroque Rome - Martin Clayton (Deputy Curator of the Print Room, The Royal Collection)10.45 - A Day in 'the Life': The experience of studying at the Royal Academy of Arts in the eighteenth and nineteenth centuries - Annette Wickham (Research Curator, Collections and Library, Royal Academy of Arts)11.15 - Coffee11.45 - Drawing the Figure from the Cast and Life - David Jeremiah (Leverhulme Emeritus Fellow)12.15 - The Redundant Rebus: Reality Checks on the Functioning of the Life Class - Deanna Petherbridge (Professor Emeritus University of the West of England, Bristol and Visiting Professor of Drawing, University of the Arts, London)12.45 - Discussion1.15 - Lunch (not provided)2.45 - Drawing from Objects: A Historical Perspective - Morna Hilton (Head of Learning, Victoria and Albert Museum)3.15 - When is Realistic too Realistic? - Ed Allington (Professor and Head of Graduate Sculpture, Slade School of Fine Art, UCL)3.45 - Discussion4.15 - TeaPanel: History and Practices of the Slade and Norwich Life Rooms:4.45 - The 'F' Studio 1970s to the Present - Jo Volley (Senior Lecturer, Painting, Slade School of Fine Art, UCL)5.00 - John Wonnacott and John Lessore: The Life Room at Norwich School of Art 1978-1985 - Lynda Morris (Curator EASTinternational and AHRC Research Fellow, Norwich University College of the Arts)5.15 - Don't go in there: Painting in the Slade Life Room 2003-07 - Geoff Stein (Artist)5.30 - Dot and Carry; point and scan - Tom Lomax (Lecturer, Sculpture, Slade School of Fine Art, UCL)5.45 - Discussion6.15 - Reception and Private View of the exhibition Looking Back at the Life RoomSaturdayTransitions in art education 1960s - 1970s10.00 - Introduction10.15 - Drawing Parallels between Life and Art: Challenges to the Art School in Fifties and Sixties Britain - Ben Cranfield (Lecturer in Arts Management, Department of Media and Cultural Studies, Birbeck College)10.45 - 'Audience-free' Practices and the Art School Panopticon - Chris Dorsett (Reader in Art School Practices, Department of Arts, School of Arts and Social Sciences, University of Northumbria)11.15 - Coffee11.45 - Excavating the British Art School - Matthew Cornford (Professor of Fine Art, Faculty of Arts, University of Brighton) and John Beck (Senior Lecturer, School of English Literature, Language and Linguistics, Newcastle University)12.15 - Yurts, Bars and Trailer Parks: Anti-Paradigms for the New Art School - Steven Henry Madoff (Senior Critic, Yale University School of Art)12.45 - Discussion1.15 - Lunch (not provided)Production of the art student as subject2.45 - A Body in Part (performance) - Yuen Fong Ling (PhD Student, University of Lincoln)3.45 - Tea4.15 - Between the Studio and the Seminar: What does art-school's double language do? - Mary Anne Francis (Senior Lecturer Critical Fine Art Practice, University of Brighton and Research Fellow in Writing and Art, Chelsea College of Art)4.45 - Micropolitics of Art and Economy in the Art School Today - Susan Kelly (Course Leader BA Fine Art and History of Art (Studio Practice) Department of Art, Goldsmith's College, University of London)5.15 - Under Construction: Alternative Art School SpRoUt - Amy Cunningham (Senior Lecturer, Music and Visual Art, University of Brighton), Hayley Skipper (Arts Development Officer, Forestry Commission, Grizedale Forest) and Hannah Chiswell (MA Fine Art, Slade School of Fine Art)5.45 - Discussion6.15 - Close
Artefacts of Excavation
Artefacts of Excavation
‘Artefacts of Excavation’ is a 3-year, AHRC-funded collaborative project led by Dr Alice Stevenson at UCL, and Professor John Baines at the University of Oxford.From the 1880s to the 1980s British excavations at sites across Egypt resulted in the discovery of tens of thousands of objects. A large proportion were exported from Egypt and distributed to an estimated 200 museums around the world before they were fully documented or published.  'Artefacts of Excavation' is an ambitious project that will create an online resource for the relocation and re-contextualization of these objects, and will explore the role of these distributions in the development of archaeology and museology. [[{"fid":"3405","view_mode":"xl","fields":{"format":"xl","field_file_image_alt_text[und][0][value]":"ohi1.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"xl","field_file_image_alt_text[und][0][value]":"ohi1.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1025","width":"1402","class":"media-element file-xl"},"link_text":null}]]The project aims to address the following questions:What was the scale and scope of the distribution of finds from British excavations in Egypt between 1880 and 1980? Where are these collections now?What do these finds distributions reveal about the changing relationship between museums, field archaeology and the development of research between 1880 and 1980?How were local, regional, national, and international identities (including colonial relations) negotiated through the circulation of antiquities from Egypt? How may these be understood in relation to questions of the ownership of Egyptian heritage today?How were ancient Egyptian artefacts from British excavations accommodated within different museums around the world? How may these local narratives be linked with wider developments in archaeology and museology?Project CollaboratorsThe Griffith Institute, University of OxfordEgypt Exploration SocietyProject conferenceApril 7-8 2016, University College London, Institute of Archaeology, G6The conference outline is available here and the conference programme here.The book of abstracts is also available here.[[{"fid":"3397","view_mode":"xl","fields":{"format":"xl","field_file_image_alt_text[und][0][value]":"uc25969.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"xl","field_file_image_alt_text[und][0][value]":"uc25969.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"559","width":"924","class":"media-element file-xl"}}]]Project websiteHosted at the Griffith Institute: http://egyptartefacts.griffith.ox.ac.uk/This website is not only a repository for the project outcomes. It also forms a central tool of our research and a point of engagement with museums worldwide. We will be posting here resources to help people identify and more fully understand excavated objects in collections, as well as sharing some of the stories that lie behind artefacts from British fieldwork in Egypt now dispersed across the globe. Our focus will be on the fieldwork of the Egypt Exploration Fund (EEF)/Society (EES), and the British School of Archaeology in Egypt (BSAE)/Egyptian Research Account (ERA).Project publicationsStevenson, A., Libonati, E. and Williams. A. forthcoming (May 2016) 'A selection of minor antiquities: a multi-sited view on collections from excavations in Egypt. World Archaeology 48(2) Stevenson, A. 2016. Conflict antiquities and conflicted antiquities: challenging the sale of legally excavated artefacts. Antiquity  90: 229-236 http://dx.doi.org/10.15184/aqy.2015.188Stevenson, A. and Libonati, E. 2015. Artefacts of Excavation. Egyptian Archaeology 46: 27-29. Stevenson, A. 2015. Between the field and the museum: the ongoing project of archaeological context. Egyptian and Egyptological Documents Archives Libraries 4: 109-118Stevenson, A. 2014. Artefacts of excavation: the collection and distribution of Egyptian finds to museums, 1880–1915. Journal of the History of Collections 26(1): 89–102. 
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Beacon Bursaries
Funding call now open!Deadline: June 19th 2017Do you have an idea for a project or activity, or a need for materials or resources, that will help you to connect your research or teaching with people outside UCL?Do you need funding to improve your skills, share public engagement ideas or arrange meetings and dialogue events?Apply for a Beacon Bursary to help make your idea a reality.These bursaries have been designed to support staff and postgraduate research students at UCL to do public engagement. This scheme funds public engagement activities that increase staff and postgraduate research students’ activity, skills, and understanding of public engagement.Bursaries are part of a strategic programme of activities that aim to embed public engagement as a normal, valued activity for UCL staff and postgraduate research students. Applications are made using a short form, the latest versions of which can be found here:Beacon Bursary Application form (MS Word)Beacon Bursary Guidance for Applicants (PDF)We strongly advise that applicants read the application guidance document to improve your chances of making a successful application. Applications are judged by a panel of senior UCL staff with extensive public engagement experience.If an application is funded, we send the project lead a short learning and evaluation form to fill in at the end of the project. Completing this form is a requirement of accepting the bursary funding.Beacon Bursary Project Evaluation Form (MS Word)For any help or questions about applying for Beacon Bursary funding, please email us at publicengagement@ucl.ac.uk The UCL Public Engagement Unit can provide advice and feedback on draft applications in advance of the deadline.
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