In early 2021 at the height of the pandemic, the Printmaking Areas at the Slade and the National College of the Arts (NCA), Lahore invited students from across both schools to apply to take part in a unique (lockdown) print collaboration.
This project, led by PhD student Jasmir Creed and Professor Sharon Morris, is significant in its aim of decolonisation of the curriculum and the museum. It is funded by the Slade School of Fine Art and the Institute of Advanced Studies, UCL.
MiCA is a cross-institutional research group founded in 2017 bringing together artists, writers and others engaged in the relation between the medieval period and contemporary art.
Carey Young will create a photographic series which examines the 'surfaces of law': details of legal architecture, including courthouses, prisons, law offices etc.
Environment, Ecology, Sustainability is a research site and visual reading group with a focus on material that addresses the climate emergency through both historical and contemporary art practice.
The aim of Hands On Art Workshops is to support and encourage creative and imaginative thinking, engagement and exchange globally and intergenerationally between artists and students.
The Pigment Timeline Project is a collaborative, cross-disciplinary research project which investigates and establishes connections between all UCL departments that involve pigment and colour in any aspect of their research.
Transnational Slade aims to explore and map the global networks and trajectories of influence of the school’s alumni and staff.
The Materials Research Project based in the Methods and Materials Room of the graduate painting area, spearheads the role of materials within the creative process.
The Slade Archive Project is centred on researching and developing the Slade’s rich collection of institutional records.
Dr. Onya McCausland is a Leverhulme Early Career Research Fellow at the Slade School of Fine Art, UCL.
Andrew Stahl started the Transcultural Art Network to instigate transcultural artist residencies at the Slade School of Fine Art from various sources of funding.
SCEMFA is a research group at the Slade School of Fine Art. It opened in 1995 and for the past 15 years has provided the opportunity for leading artists to focus on research into Electronic Media and Fine Art.
In 1960 the Slade became home to Britain’s first university film department, a unique centre of research, filmmaking and extraordinary screenings. See the Slade Archive section to read more about this project.
Liz Rideal’s Leverhulme Fellowship entitled Splicing Time focuses on Rome and the Roman Campagna.
Farafield was a field recording project at the Slade School of Fine Art. Originally set up with funds from UCL Changemakers in 2016-17, fifteen students were given travel awards to help fund a journey for the purpose of making audio field recordings.
The Monologue Dialogue series has grown from a British Council initiated and funded residency and exhibition in Bangkok, Thailand.
This is a three-year interdisciplinary project to further research the value of visual images in the diagnosis and management of chronic pain. Funding comes from the Centre for Humanities Interdisciplinary Research Projects (CHIRP) Scheme.
Inaugurated in 2009, Cities Methodologies is a pan-UCL initiative to showcase innovative methods of urban research.
The exhibition, Monologue Dialogue 3, continues an important conversation initiated 8 years ago in Thailand by a group of British and Thai artists.
This is a collaboration between The Slade School of Fine Art, UCL and Red House, National Trust. Red House is the iconic home of William Morris - writer, artist, craftsman, socialist and founder of the Arts & Crafts movement.
The Bronze Lab aims to investigate experimental approaches to the use of bronze, explore bronze processes alongside other metal processes and encourage the development of new research projects that may encompass a variety of media and processes - analogue and digital.
This network is driven by dialogue: not only between the two principal investigators, but also between generations of artists.
PITCHAfrica's rainchutes utilize decommissioned military parachutes to create a remarkably simple solution to providing access to water at home for millions.
Liz Rideal was invited by Professor Gill Perry of the Open Arts Archive to consider recording her views about the nature of creativity and the processes of making art, whilst on a cotton research trip in India funded by the British Academy.
This is a Research Forum including artists, writers and academics from the Slade in dialogue with other researchers at UCL and other London and international institutions, who are working on the relation between words and images across various fields of creativity and scholarship.
This grant covered some of the research expenses for the production of Alighiero E Boetti (Yale University Press 2012).
Working with the Slade School of Fine Art, UCL in London, four artists – in China, Uganda, Israel and Australia –each filmed a 12 minute video in a locale connected to their work, under the title The View From Here.
In Materialising Time new and innovative methods of visually representing time were explored through a series of Seascapes developed in partnership with Film and Video Umbrella, London and the De La Warr Pavilion, Bexhill.
The project asks the question 'What is the relationship between the development of Modern sculpture in the West and Japan, taking the premise that modernization and Westernization are not the same?
Jayne Parker's objective was to make a group of 16 mm films that addressed the question: can film be a 'musical equivalent'?
Mark Godfrey’s Leverhulme funded research project looked at the way American artists engaged the memory of the Holocaust resulting in the book Abstraction and the Holocaust (Yale University Press 2007).
This investigation aimed to contribute to our understanding of how global communications systems like the worldwide web are transforming the way we perceive the world around us.
The project considered the status of drawing in relation to its history as a preliminary, or transitional medium.
This research project explored how digital methodology aligns itself with the tradition of sculpture and how these notions effect an alternative methodology to the materiality of a sculptural tradition?