Image: One to Twenty (by Barber Swindells, 2012)

A few images from the Pecha Kucha Night, Monday 1st July, Cotton Factory, Huddersfield. An evening of short presentations and discussion, bringing together research active staff in Music, Humanities, Media, Art, Design and Architecture.




A small sample of some of the positive feedback from delegates attending Yinka Shonibare MBE: Material Positions:

‘It has opened my eyes to the varied dimensions and interpretations of his work.’
‘It’s been great to think about Yinka’s work from a variety of viewpoints and disciplines – and to contextualise his work in different ways.’
‘The conference has developed my understanding of YSMBE’s work through exploring a wide variety of interpretations from experienced and inspirational academics and professionals.’
‘It has been a great experience.’
‘[My understanding] has been expanded through the detailed examination of elements associated with Yinkia Shonibare and beyond –wonderful!’

To view further visitor feedback please click the link below *(While all comments are anonymous, please don’t hesitate to get in touch if you would prefer your comment to be removed from this site): Yinka Shonibare Visitor Feedback

Conference photographs – Yinka Shonibare MBE: Material Positions,Thursday 27 June 2013 at Yorkshire Sculpture Park (Dr Alison Rowley, Reader in Cultural Theory and Dr Catriona McAra, Research Fellow in Cultural Theory):


Pecha Kucha: Monday 1st July 6pm to 8pm. The Cotton Factory, VIP Lounge – all colleagues welcome

The School of Art, Design and Architecture and the School of Music, Humanities and Media are organising a Pecha Kucha event hosted by research active staff from across both departments. The intention is to bring together and introduce staff who may share similar research interests but work in different disciplines. Each member of staff will introduce a basic outline of their work in no more than 3 minutes, and with no more than 10 slides. There will also be plenty of opportunity for networking and socialising.

Approximate Timetable –
6pm: arrive, drinks and order pizzas
6.15: start presentations
6.45: Break – drinks, food
7.15: start presentations
7.45: Close and continue to socialise

Yinka Shonibare MBE: Material Positions
Announcing the programme for Yinka Shonibare MBE: Material Positions, a one-day conference at Yorkshire Sculpture Park, Thursday 27 June 2013. To book a place at this event, please visit YSP.


10:00 – 10:15
Greetings and introductory remarks: Dr Alison Rowley
10:15 – 11:15
Keynote: Professor Carol Tulloch
Yinka Shonibare MBE: Making-Freedom-Recalcitrant
11:15 – 11:35
Refreshments (provided)
Session 1
11:35 – 11:55
Miranda Stearn
Yinka Shonibare MBE: Scratching the Surface at the National Gallery
11:55 – 12:15
Dr Karen Dennis
YA MTU HUPANGWA NA MUNGU: A Conversation with Cloth
12:15 – 12:35
Discussion and Questions
12:35 – 14:00
Lunch (not provided)
Session 2
14:00 – 14:20
Dr William Rea
Textile, Tradition, Context: Performance and Tricky Hybrids, or When did Mrs Carter meet Yinka Shonibare MBE?
14:20 – 15:00
Dr Richard Johns and Dr Melanie Vandenbrouck
Blowin’ in the Wind: The Maritime Worlds of Yinka Shonibare MBE.
15:00 – 15:20
Discussion and Questions
15:20 – 15:40
Refreshments (provided)
15:40 – 16:40
Keynote: Professor Griselda Pollock
16:40 – 17:00
Round table and final questions
17:00 – 19:00
Exhibition tour and wine reception

Images from Claire Barber, The Sleeping Bag Project, Harrogate Knitting and Stitching Show November 2013 (


Follow the Guardian Higher Education Network debate on public engagement in HE here:

Wordle: Public Engagement in the Arts

Wordle: arts and publics

What do we mean by ‘public engagement’?

‘Public engagement’ are current buzz-words in cultural and academic spheres, but what do they actually mean, and how do we measure or record public engagement in relation to contemporary art and design?

How do we define ‘engagement’ with art and design works and who is ‘the public’ to which we are referring? Should we, perhaps, be speaking of ‘publics’, and can ‘engagement’ be more easily understood as different levels of ’encounter’ or ‘interpretation’?

Even if these terms can be defined, how then do we measure the instances, or the impact of public engagement in art and design disciplines and, further, how do we effectively communicate and learn from them?

Do you have a view to share about public engagement and its potential for transforming understanding, or about the challenges associated with measuring and articulating public engagement in relation to contemporary art and design? If so, please leave a comment below. We’d be really grateful for your input.

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Image: One to Twenty (by Barber Swindells, 2012)