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Five artists, at different stages of their education, practicing varying media, participated in a residency to work with the collections as part of their contemporary practice. The project resulted in the new works populating the exhibition, as well as a lively series of upcoming performances, film screening and workshops led by the artists to highlight aspects of their research and practice.Sonya Derviz’s practice is focused on how space is used today. For UCL Art Museum she has produced installation work, to consider how fabric can define and express space, how the visual qualities of surfaces can be understood as a spatial element, and the ways in which daily experience of light influences how we look at the collection and the uses of the space in which it is housed. The work was made specifically for the Print Room or adjusted to it, asking us to find relations to ourselves, to our situations and surroundings.[[{"fid":"6871","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EPhotograph%20by%20Natalia%20Janula%3C%2Fp%3E","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":"small","field_file_image_alt_text[und][0][value]":"Detail of work by Sonya Derviz. Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Sonya Derviz. 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Image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EPhotograph%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Cyrus Hung’s collection of traces, the common rubbish left behind on the walls and floors of the Slade studios, remind us of the everyday activities, experiments and lives that exist behind student practice, and the culmination of study that leads up to the highly anticipated, yet stressful degree show. The albums shall be taken out for examination at set times on Wednesdays by UCL Art Museum staff.[[{"fid":"6875","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_file_image_title_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][title]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EWork%20by%20Cyrus%20Hung%20and%20Sonya%20Derviz%2C%20image%20by%20Natalia%20Janula%3C%2Fp%3E","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":"medium","field_file_image_alt_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_file_image_title_text[und][0][value]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][title]":"Work by Cyrus Hung and Sonya Derviz, image by Natalia Janula","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EWork%20by%20Cyrus%20Hung%20and%20Sonya%20Derviz%2C%20image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"5848","class":"media-element file-medium"},"link_text":null}]][[{"fid":"6879","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Cyrus Hung","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20Natalia%20Janula%3C%2Fp%3E","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":"medium","field_file_image_alt_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of work by Cyrus Hung, Image Natalia Janula","field_caption_heading[und][0][title]":"Detail of work by Cyrus Hung","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Eloise Lawson explores the notion of the precarious archive by considering the indexical potential of texts that accompany artworks. Struck by the evocative qualities of the Museum’s registers, Lawson chose fragments and assembled them together as a way of animating and re-imagining the collection. When performed, the final work traverses across 11,000 works at great speed, to provide a partial and unreliable portrait of the collection. How this practice can lead to a deliberate misreading will be explored in a zine-making workshop, and other scheduled events by the artist.[[{"fid":"6891","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image by Eloise Lawson","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20by%20Eloise%20Lawson%3C%2Fp%3E","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":"medium","field_file_image_alt_text[und][0][value]":"Image by Eloise Lawson","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EImage%20by%20Eloise%20Lawson%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"2417","width":"3222","class":"media-element file-medium"},"link_text":null}]][[{"fid":"6895","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Ruins%20in%20a%20Landscape%20by%20Eloise%20Lawson%2C%20Image%20by%20Natalia%20Janula%3C%2Fp%3E","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":"medium","field_file_image_alt_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson, Image by Natalia Janula","field_file_image_title_text[und][0][value]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][title]":"Detail of Ruins in a Landscape by Eloise Lawson","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Ruins%20in%20a%20Landscape%20by%20Eloise%20Lawson%2C%20Image%20by%20Natalia%20Janula%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"4016","width":"6016","class":"media-element file-medium"},"link_text":null}]]Amanda Rice’s moving image work takes as its starting point JMW Turner’s Colebrook Dale (1825), a print depicting a once active lime kiln in Shropshire, the industrial scars and abandoned pits now covered by the new town of Telford. Taking the form of a caveat, Rice’s flag plays upon the sites’ links to the industrial revolution, and acts as a cinematic device whereby the objects’ visual folding and unfolding suggests an ever-shifting topography of extracted material, manipulated surfaces and new economies.[[{"fid":"6527","view_mode":"small","fields":{"format":"small","field_file_image_alt_text[und][0][value]":"Flag","field_file_image_title_text[und][0][value]":"Flag","field_caption_heading[und][0][title]":"Flag","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Flag%2C%20Amanda%20Rice%2C%20HD%20video%3C%2Fp%3E","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":"small","field_file_image_alt_text[und][0][value]":"Flag","field_file_image_title_text[und][0][value]":"Flag","field_caption_heading[und][0][title]":"Flag","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EDetail%20of%20Flag%2C%20Amanda%20Rice%2C%20HD%20video%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"1610","width":"1308","class":"media-element file-small"}}]]In her studio practice Grace Richardson explores how to make ever-finer casts of objects in paint. Here she creates an artificial skin to mimic the natural velum found in the collections, as a means of exploring the fragility and impermanence of skin, the push and pull of conservation versus degradation. 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The Girl at the Door is a three-year public art project exploring the legacy of suffrage. It started in 2015 as a collaboration between artist Kristina Clackson Bonnington and Dr Martine Rouleau (UCL Art Museum Learning and Access Officer).About the projectKristina Clackson Bonnington explains the origins of the project."It all started with a painting I came across in the Beaney House of Art and Knowledge in Canterbury. It's a life size painting of a little girl standing at the door, painted in 1910. The painting has such a prescence and immediately struck me as being of huge social significance. In 1910 the little girl standing at that threshold was excluded from so many places, but big changes were about to come. I wanted to explore what all these changes had actually amounted to. By working with hundreds of people, from primary school pupils to Parliamentarians, I started to investigate what changed as a result of suffrage."UCL was thought to be the perfect site to launch the project due to its historical ethos of equality. Known as the 'godless college on Gower Street', UCL was the first secular university in the UK, and the first university to admit female students on equal terms to men. UCL's Slade School of Fine Art was also the first art college to admit women in the life room and has played a significant role in the inclusion of women in the arts.LaunchIt was launched with a two-day event taking place on 6 and 7 March on the eve of International Women's Day 2015. Activities took place on Õ¬ÄÐÊÓƵ campus with talks, workshops, music and a new piece of work by Clackson Bonnington called the House of Doors. This was an immersive sculptural work that reworked UCL's Quad into a private members' club in which visitors were sworn in as MHDs (Members of the House of Doors) and contributed ideas for new laws to The Book of Love and Legislation.The House of Doors comprised of a large sculpture that referenced architectural details from three sites of significance to suffrage (UCL, Parliament and St James' Street). The sculpture extended to create a space where people could come together to reflect on and question their beliefs and actions through a range of spatial interventions and a series of talks and workshops. See a range of images on our Flickr site here.ContributorsProfessor Graham Scambler, Emeritus Professor of Sociology at UCLSculptor Ana Maria PachecoStudents from Argyle Primary SchoolDr Susannah WalkerArtist Kristina Clackson BonningtonStudents and researchers from Central St MartinsStudents and researchers from the Slade School of Fine ArtRockFourArt: Art & Action Research CollectiveSixth Form students from Sacred Heart Catholic SchoolLes Zoings UCL History of Art students 

Space, identity, construction and disorientation in UCL Art Museum's growing collection of moving image and sound art This exhibition showcased UCL Art Museum’s growing collection of time-based media - works of art which depend on technology and change meaningfully with respect to time, and include video, experimental film and audio. The display featured works by graduates from the Slade School of Fine Art, acquired through the annual William Coldstream Memorial Prize, the UCL Art Museum Prize and special commissions, all produced between 2004 and 2013. The exhibited artists included: Dana Ariel, Tom Chick, Chris Cornish, Marcia Farquhar, Nicolas Feldmeyer, Reynir Hutber, Viveka Marksjo, Julia McKinlay, Eleanor Morgan, Nicole Morris, Tessa Power, Marianna Simnett and Georgina Tate.Viveka Marksjo represented in the ehxibition with Embodied/Disembodied (2006) was the recipent of the Stanhope Research Award and the Julian Sullivan Award in Fine Art Media in 2006, Nicole Morris work I am here! (2012) featured in Bloomberg New Contemporaries at the ICA that year, Marianna Simnett represented in the exhibition with Dog (2014) was selected for for the Jerwood/FVU Awards 2014 - 2015, Nicholas Feldmeyer represented in the exhibition with Iam unique and so is everyone else (2012) was winner of Channel 4 New Sensations 2012, and Marcia Farquhar was the first receipient Arthole Artist’s Award by LADA (Live Art Development Agency) awarded in 2016 for three years.More about the exhibitionThe displayed works demonstrated the ways in which these artists play with moving image and sound in order to consider concepts of space, identity, construction and disorientation, and to create a dialogue between viewer and object. For example, â€˜Time Based Media’ included The Printers’ Symphony, a collaborative multimedia piece aiming to bring the printing process into the exhibition space, created by Dana Ariel, Julia McKinlay, Eleanor Morgan and Georgina Tate. The sound recording (made from the noises familiar from the print-room environment, including ink rollers and printing press cogs) accompanied by a concertina of printed images and marks was awarded the first UCL Art Museum Prize in 2013. The exhibition also featured Flaxman Exchange, a 2013 collaborative film by Tom Chick, Reynir Hutber and Marcia Farqhuar, which documented Farquhar's performance work around significant spaces of UCL. Read more about this project here.A series of events, Time-based Media in Conversation, ran alongside the exhibition, including talks by artist Marianna Simnett (winner of the 2013 Coldstream Prize) and an evening performance-lecture by artist and recent Slade PhD graduate Kai Syng Tan. The audio-visual equipment was kindly provided by the Slade School of Fine Art.Read more about the works in the exhibition hereMore about the Coldstream PrizeThe Coldstream Prize is a purchase award selected from the Slade’s degree shows to reflect outstanding achievement over the whole year, rather than requiring students to create pieces to fit specific requirements. This has resulted in a wide array of artwork. Time-based media is one particular strand within the history of the award.

This is a novel approach to an existing problem and has no precedent that we know of. It repurposes existing technologies and is unique in the way it brings together different expertise within UCL.―  Sarah Aitchison (Head of UCL Special Collections) & Nina Pearlman (Head of UCL Art Collections)UCL Rightsholder Clearance Project (2021-22)On the occasion of the Slade 150 anniversary, UCL Art Museum launched the UCL Rightsholder Clearance Project, a multiphase initiative with several objectives: to locate copyright holders for works in the Slade Collections; to rethink the process and methodology of rights tracing; to foster knowledge exchange and cross-disciplinary collaboration; to develop new tools to simplify processes and offer more sustainable solutions to sector-wide problems.The lack of copyright permissions is a barrier to access and knowledge exchange. The process of securing rights is time-consuming, costly and poses a challenge to many smaller museums and collections, who play an essential role in reshaping narratives by enhancing visilibility of marginalised artists and amplifying under-represented voices in heritage collections. Through this collaboration between UCL museum staff, archivists, developers and technology specialists across various university departments, the Rightsholder Clearance Project offers novel, technological solutions to a long-standing problem, enabling the future participation of smaller museums and collections in the metaverse.Phase 1 was part of Virtual Exhibitions, a collaboration between UCL Culture and UCL's Bartlett Centre for Advanced Spatial Analysis (CASA), which explored the potential for next generation 360VR for the cultural and higher education sectors. It was funded by UCL Art Museum with support from UCL Innovation & Enterprise knowledge exchange via the UCL Higher Education Innovation Fund.Phase 2 expanded the project to collaborate with UCL Library and Special Collections. This phase was supported by a National Archives' Testbed grant (2022).Plans for Phase 3, a collaboration with UCL Advanced Research Computing Centre, are underway.Information for potential rightsholders Do you have any works in the collections of UCL Art Museum or UCL Special Collections? Are you Slade alumni? Are you a representative of the estate of a deceased artist or author?Do you have further information to share about other rightsholders or works already online?If so, we want to hear from you!Please email culture.copyright.art@ucl.ac.uk or spec.coll@ucl.ac.ukYou can search the UCL Art Museum catalogue or view a selection of artworks here. You can search UCL Special Collections.More about UCL Rightsholder Clearance Project - Phase 1The rich body of artworks in the Slade Collections includes 3,000 drawings, paintings and prints, many of which were accessioned via the Slade’s student prize system and augmented by gifts and works by staff. Prizes have been awarded annually since the establishment of the School in 1871 as an important recognition of the quality of a student’s work. Phase 1 sought to trace rightsholders and to secure copyright permission for works in these collections. Copyright falls under â€˜Intellectual Property Rights’ and is a legal right protecting work that is the result of human skill, judgment or labour, and automatically resides with the first creator of an original piece of work (or their employer). Once rightsholders have been identified and permission to reproduce images has been granted, UCL Art Museum can ensure the continued relevance of this renowned collection by providing online and publication access, and increasing wider engagement with the works. This phase also explored a new solution for managing the resulting documentation more effectively. Activities undertaken included the setting up of the due diligence rights tracing process for UCL Art Collections. The team also worked in partnership with developers towards a proof of concept for a new rightsholder database and tracing process, including the automation of rights-consent and licensing by repurposing secure web applications for online surveys and data collection.UCL Rightsholder Clearance Project - Phase 2Phase 2 continued the knowledge exchange and dialogue between UCL museum staff, archivists, developers and technology experts from UCL CASA and UCL Information Services Division. This phase scaled up the ambition for a bold, new approach to the sector-wide problem of securing rights. The project sought to automate and streamline the due diligence process for third-party copyright in art collections and archive collections. This phase focused on testing the proof of concept using two data case studies: a sample of the correspondence section of the George Orwell Archive held by Special Collections, and the recently digitised Stanley Spencer postcard album held by UCL Art Museum.UCL Rightsholder Clearance Project - Phase 3Phase 3 will seek to develop the proof of concept to offer a robust and sustainable software solution to the rightsholder clearance process that is shareable across the cultural and heritage sector.The project teamThe cross-disciplinary project team includes Nina Pearlman & Tashi Petter (UCL Art Collections), Rebecca Sims & Sarah Aitchison (UCL Library Special Collections), Valerio Signorelli & Andy Hudson-Smith (UCL Centre for Advanced Spatial Analysis), Jason Lopez (UCL Information Services Division) and Jonathon Cooper (UCL Advanced Research Computing). The project has also benefited from input from UCL Educational Media and copyright and IP guidance from Naomi Korn Associates.

New research by emerging artistsThis exhibition and series of public events formed the 8th annual invitation to students at the Slade School of Art to delve into Õ¬ÄÐÊÓƵ art collections and to create new works in response. For the first time, it was based on a longer residency format. This allowed for more intensive research, with artists discovering many hidden treasures, to produce individual, contemporary works in a range of media, including installation, performance and painting.Working with the medium of performance, Naomi Fitzsimmons revisited BLAST, a literary magazine produced to promote Vorticism, a modernist art movement headed by Wyndham Lewis. Blast / Bless expanded the archive’s boundaries and meanings by engaging with them in the present with the theatricality of the live format. The work explores techniques utilized to seduce viewers, and how relevance today within and for systems of power. Kara Chin produced paintings with kinetic elements calling attention to the unseen, as embodied by the very nature of the museum’s stored collection. David Blackmore’s research into Countess Markievicz, a former Slade student who was an Irish militant revolutionary, politician and suffragette, also engaged with the unseen by making her conspicuous absence at UCL visible via his sculptural intervention and bespoke archive that inhabited UCL Art Museum, Õ¬ÄÐÊÓƵ main library and the Slade’s Material Museum.So many fascinating discoveries were made during the residency that a special display box was put together, dedicated to rarely seen material 'From the Vault'. It featured a bi-weekly rotation of items selected by the Slade artists in residence and guest curators from the wider Õ¬ÄÐÊÓƵ community, including some treasures discovered by Õ¬ÄÐÊÓƵ Museum Studies students. These objects often required conservation and further research, therefore, the changing display often served as a proposal for further enquiry, encouraging repeated visits to the space and inviting audiences to participate in the process of discovery.See here for more information about the UCL Art Museum/Slade Collaboration series.This is part of UCL Art Collections’ commitment to interdisciplinary research-impact collaborations. For more information or expressions of interest to collaborate contact museums@ucl.ac.uk/ 

 Twelve artists trace connections through UCL's art collections. For the fourth annual Slade collaboration, 12 Slade artists were invited to the UCL Art Museum, where they delved deep into cupboards to discover a number of hidden treasures: a rare portrait print by William Blake of the physiognomist Johann Caspar Lavater, an early chalk drawing of a lion, a hand-coloured Japanese woodblock print of a flying bat. YouTube Widget Placeholderhttps://www.youtube.com/watch?v=lYh7_2CXJkIIn the form of painting, drawing, video and sound art, the Slade students responded to the exhibition title of Vincula, the plural of ‘vinculum’ – ‘a horizontal line over a group of terms to show that they have a common relation’ (Oxford Dictionary). Recurring themes and motifs included portraiture, the limitations of language and the uncanny.  Many of the featured artists have gone on to forge prolific artistic careers, exhibiting internationally and publishing research, with some like Ian Giles returning to collaborate with us for the exhibition RE-LAUNCH in 2015. Yvonne Feng was receipient of the William Coldstream Prize in 2017. The exhibition featured: Katie Aggett, Alan Chan, Philippa Connolly, Robert Crosse, Yvonne Feng, Ian Giles, Estelle Holland, Laura Kuch, James Ng, Ninna Bohn Pedersen, Kristan Saloky and Freddy Tuppen.For more information about the UCL Art Museum/Slade Collaboration series, see here.