Showing papers on "Exhibition published in 2007"

Memorial Museums: The Global Rush to Commemorate Atrocities

Abstract: 1. A Very Different Proposition: Introducing the Memorial Museum 2. The Surviving Object: Presence and Absence in Memorial Museums 3. Photographic Memory: Commemorating Calamitous Events through Images 4. Rocks and Hard Places: Location and Spatiality in Memorial Museums 5. A Diplomatic Assignment: The Political Fortunes of Memorial Museums 6. The Memorial Museum Identity Complex: Victimhood, Culpability, and Responsibility 7. Looming Disaster: Memorial Museums and the Shaping of Historic Consciousness 8. Conclusion: Fighting the Forgetful Future

Eco-visualization: combining art and technology to reduce energy consumption

Abstract: Can creative visualizations of real time energy consumption patterns trigger more ecologically responsible behavior? Media art that displays the real time usage of key resources such as electricity offers new strategies to conserve energy in the home and workplace. This paper details the development of a public art project created for the National Center for Supercomputing Applications that measures electricity usage in real time for the purpose of education and curtailment of power usage. A version of this piece will be on view in the exhibition, Speculative Data and the Creative Imaginary, a component of the 2007 Creativity and Cognition conference.

Flickr and public image-sharing: distant closeness and photo exhibition

Abstract: This paper presents an empirical study in progress of the use of Flickr.com, part of an on-going research program on personal digital media, including images. Two new kinds of image-sharing with Flickr are.distant closeness. and.photo exhibition.. We are seeing changing uses of images in social interaction and increased multi-modal communication.

Events Design and Experience

Abstract: Section 1: What are Events: 1. Setting the context for event experiences 2. Overview of organisational processes This introductory section aims to establish the context within which event experiences take place. It is also the scene setting chapter, discussing(briefly) the event industry, terminology and definitions, market demand. Nearly all existing event based texts tend to provide an internal view of the process of organisation and management which confers upon the reader solid practical approaches. This chapter will also critically review that literature on event management in order to establish a context and platform from which a more meaningful understanding and analysis of the experience of consumers can be drawn. It will consider how event manuals approach the organisation and management of events with reference to the impact and experience of those events. For example the work on event organisation and marketing of Watt, Hoyle,Goldblatt, Sonder and Getz , the programming concepts identified in O'Toole, Allen, Shone, Torkildsen and Rossman will be explored. Practical material will be drawn from, amongst others, the event management section of Wembley Plc, London Borough of Ealing, Leapfrog Corporate Events, Catalyst Event Management, Union Cycliste International , British Cycling Federation. Section 2 : What is an event experience? 3. What are event experiences? 4. The dimensions of event experiences 5. Interaction between experience and participant 6. The flow of experiences 7. Providing for experiences This section will introduce and explain what event experiences are and provide a setting for the following sections. It will follow on from Chapter 1 by both explaining the nature and stages of experience and the emergence of the experience industry itself (including the marketing of experiences). It will seek to clarify the nature of an experience and how experiences are more than simply one-dimensional and uniform throughout the time an individual or group is in attendance utilising , for example, the work of Kelly & Godbey, Leitner, Gray, Hull and Csikszentmihalyi, O'Sullivan and Spangler. To illustrate how these points relate to the experience examples will be drawn from many areas such as Academic Conferences, Business Conventions, Graduation and Award Ceremonies, Olympic and Commonwealth Games, RAF Museum Exhibitions, Sport in Science Exhibition, DMS&S Show, London Fashion Week, Clothes Show Live, Proms, Ice-Skating, Nike Fun Run Section 3 - Designing Experiences 8. Understanding Design 9. The Design process 10. Creating themed environment 11. Event artistry This section provides an overview of design considerations. The chapter considers how design itself can impact upon the experience, in some cases fundamentally changing the nature of experience. It asks the question of how experiences are designed and equally importantly what do they signify, once complete, to the consumer. The chapter will seek to raise an awareness of how the design and creation of environments influences the experience in other words to establish the need and role of what might be called 'event artistry'. It will further explore the link with experience marketing. A design management perspective will be embraced that will elaborate on the design of experiences associated with experience infusers, enhancers and makers. Consideration here will be given to parameters of experiences. This will be linked with effective event design focusing on artistic concepts such as installation (site-specific, sensual, kinetic), conceptualisation (abstract, interpretative) assemblage (raw, unorthodox), pop art (larger-than-life) impressionism (suggestive, fluid) kitsch ( tongue-in-cheek) regionalism (urban, representative) realism (natural, true) surrealism (make-believe) traditionalism ( classic) narrative art ( literary, eternal). Practical material illustrating the above points will drawn from many sources but will include, for example, Academy Awards Board, Chef Master Class, Ideal Home Exhibition, London Transport Museum, MTV Awards, Halloween Party, Graduation Ceremony, Mitzvah Celebration, Music 100, London Fashion Week, Cincinnati Museum Centre, Science Museum, World Mountain Bike Series, MOMI, Metallica on Tour, the Bike Show. Section 4 -Analysing event experiences 12. Analysing of event experiences 13. Experience Perception and interpretation 14. Event contextualisation and representation The final section will offer a concluding analysis of the experience, considering how experiences can be analysed and evaluated and to consider the artificiality of the event and how this reflects in the experience of consumers. This will lead onto a review of the psychological processes of perception and interpretation and how meaning and experience can be analysed and how we may begin to unravel the meanings attributed to certain events. Finally the mode of attendance will be considered as participants construct their own experiences, not necessarily through the sole nature of the provision, but through the shared characteristics and behaviour patterns that groups and individuals bring with them to create and interpret experiences. The work of Tomlinson, Veal, Featherstone, Wearing, and Hall amongst others will be used to highlight these points. Examples will be drawn from participant research and assessment through site visits. Previous examples will be revisited to illustrate some analytical points as well as reflecting on the following events: Adrenalin 98, Beatles Walking Tour, London Cross Championships, Virgin Assault 3, Nike Fun Run, TiLE, CONFEX, The Event Show, Savoy Awards, Glastonbury. Summary & Conclusions

In principle, in practice : museums as learning institutions

Abstract: 1 Foreword 2 Preface 3 Part I: How People Learn in Museums 4 1. Towards an Improved Understanding of Learning from Museums: Filmmaking as Metaphor 5 2. Family Learning in Museums: Perspectives on a Decade of Research 6 3. Students, Teachers and Museums: Toward an Intertwined Learning Circle 7 4. Exhibit Design in Science Museums: Dealing with a Constructivist Dilemma 8 5. Research on Learning from Museums 9 Part II: Engaging Audiences in Meaningful Learning 10 6. Envisioning the Customized Museum: An Agenda to Guide Reflective Practice and Research 11 7. Museums and Cultural Understanding 12 8. Raising the Relevancy Bar at Aquariums and Science Centers 13 9. Challenging Convention and Communicating Controversy: Learning Through Issues-Based Museum Exhibitions 14 Part III: Fostering a Learning-Centered Culture in our Institutions 15 10. New Ways of Doing Business 16 11. Optimizing Learning Opportunities in Museums: The Role of Organizational Culture 17 12. Fostering Effective Free-Choice Learning Institutions: Integrating Theory, Research, Practice and Policymaking 18 13. Meaningful Collaboration 19 Part IV: Investigating Museum Learning in the Next Ten Years 20 14. Understanding the Long-Term Impacts of Museum Experiences 21 15. Investigating Socially Mediated Learning 22 16. Research in Museums: Coping With Complexity 23 17. An Emerging Research Framework for Studying Free-Choice Learning and Schools

Science in the marketplace : nineteenth-century sites and experiences

Abstract: The nineteenth century was an age of transformation in science, when scientists were rewarded for their startling new discoveries with increased social status and authority. But it was also a time when ordinary people from across the social spectrum were given the opportunity to participate in science, for education, entertainment, or both. In Victorian Britain, science could be encountered in myriad forms and in countless locations: in panoramic shows, exhibitions, and galleries; in city museums and country houses; in popular lectures; and even in domestic conversations that revolved around the latest books and periodicals. "Science in the Marketplace" reveals this other side of Victorian scientific life by placing the sciences in the wider cultural marketplace, ultimately showing that the creation of new sites and audiences was just as crucial to the growing public interest in science as were the scientists themselves. By focusing attention on the scientific audience, as opposed to the scientific community or self-styled popularizers, "Science in the Marketplace" ably links larger societal changes - in literacy, in industrial technologies, and in leisure - to the evolution of "popular science."

Museum Manners: The Sensory Life of the Early Museum

Abstract: Many contemporary museums are challenging the traditional "hands off" ethos of the museum with innovative, interactive exhibitions. Yet such exhibitions are still exceptions to the rule of sensory restraint which is generally expected to govern the behaviour of museum visitors. Artifacts for the most part are only to be seen—not felt, smelt, sounded and certainly not tasted. Yet, this rule of sensory restraint is not intrinsic to the museum. Accounts of visits to early museums indicate that visitors interacted with and learned about the exhibits on display through all of their senses. Such multisensory interaction was not simply due to lax regulations, but was motivated by a range of social customs as well as by contemporary aesthetic and scientific norms. The present exploration of the sensory life of the early museum enlarges our understanding of the social history of museums and also contributes to the developing fields of the history and anthropology of the senses.

Design For The Other 90

Abstract: Of the world's total population of 6.5 billion, nearly 5.8 billion people, or 90%, have little or no access to most of the products and services many of us take for granted; in fact, nearly half do not have regular access to food, clean water, or shelter. "Design for the Other 90%" explores more than 30 projects which reflect the growing movement among designers, engineers, students and professors, architects, and social entrepreneurs to design low-cost solutions for this other 90%. Through partnerships both local and global, individuals and organizations around the United States and throughout the world are inventing unique ways to provide better access to food, water, shelter, health, education and energy to those who most need them. Published in conjunction with a major exhibition at the Smithsonian's Cooper-Hewitt, National Design Museum, "Design for the Other 90%" contains more than a dozen essays by leading experts in the field, accompanied by 200 full-color illustrations, to highlight a wide variety of design innovations that address the basic challenges of survival and progress faced by the world's poor and marginalized.

India by Design: Colonial History and Cultural Display

Abstract: List of Figures Acknowledgments Introduction. Colonial Patterns, Indian Styles 1. The Indian Village in Victorian Space: The Department Store and the Cult of the Craftsman 2. "To Visit the Queen": On Display at the Colonial and Indian Exhibition of 1886 3. The Discrepant Portraiture of Empire: Oil Painting in an Expanded Field 4. Collecting Colonial Postcards: Gender and the Visual Archive 5. A Parable of Postcolonial Return: Museums and the Discourse of Restitution Epilogue. Historical Afterimages Notes Bibliography Index

Interconnecting: museum visiting and exhibition design

Abstract: This article seeks to provide a review of research on museum visiting which has particular relevance for exhibition design. It focuses on empirical studies carried out in a range of social and cultural disciplines. The article begins with an overview of some of the main directions that have been reported in museum visitor study, in particular a shift towards considering visitors as ‘active’ and to looking at affective and embodied dimensions of the visitor experience as well as at the cognitive and ideational. It then looks in more detail at findings and attempts to build a conceptual vocabulary in three related areas of museum visitor research: media, sociality and space. In addition to assessing the state-of-play so far, the article seeks to outline areas for future research.

Engaging constable: revealing art with new technology

Abstract: Museums increasingly deploy new technologies to enhance visitors' experience of their exhibitions. They primarily rely on touch-screen computer systems, PDAs and digital audio-guides. Tate Britain recently employed two innovative systems in one of their major exhibitions of John Constable's work; a gestural interface and a touch-screen panel, both connected to large projection screens. This paper reports on the analysis of video-recordings and field observations of visitors' action and interaction. It explores how people interact with and around the systems, how they configure the space around the installation and how they examine and discover their properties. It suggests that designers of interfaces and installations developed for museum exhibitions face particular challenges, such as the transparency of the relationship between people's actions and the system' response, the provision of opportunities for individual and collaborative experiences and the interweaving of technological and aesthetic experiences.

The lens of ludic engagement: evaluating participation in interactive art installations

Abstract: Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research

Going to the Movies: Hollywood and the Social Experience of Cinema

Abstract: Introduction, Richard Maltby and Melvyn Stokes Part 1: Studies of Local Cinema Exhibition 1. Race, Religion, and Rusticity: Relocating U. S. Film History, Robert C. Allen 2. Tri-racial Theaters in Robeson County, North Carolina (1896-1940), Christopher J. McKenna 3. The White in the Race Movie Audience, Jane Gaines 4. Sundays in Norfolk: Toward a Protestant Utopia Through Film Exhibition in Norfolk, Virginia, 1910-1920, Terry Lindvall, C. S. Lewis 5. Patchwork Maps of Movie-Going, 1911-1913, Richard Abel, Robert Altman 6. Leshono habo' bimuving piktshurs (Next year at the Moving Pictures): Cinema and social change in the Jewish immigrant community, Judith Thissen 7. 'Four Hours of Hootin' and Hollerin": Moviegoing and Everyday Life Outside the Movie Palace, Jeffrey Klenotic 8. Cinema-going in the United States in the mid-1930s: A Study Based on the Variety Dataset, Mark Glancy and John Sedgwick 9. Race Houses, Jim Crow Roosts, and Lily White Palaces: desegregating the Motion Picture Theater, Thomas Doherty Part II: Other Cinema: Alternatives to Theatrical Exhibition 10. The Reel of the Month Club: 16mm Projectors, Home Theaters and Film Libraries in the 19320s, Haidee Wasson 11. Early Art Cinema in the U.S.: Symon Gould and the Little Cinema Movement of the 1920s, Anne Morey 12. Free Talking Picture - Every Farmer is Welcome: Non-theatrical Film and Everyday Life in Rural America during the 1930s, Gregory A. Waller 13. Cinema's Shadow: Reconsidering Non-Theatrical Exhibition, Barbara Klinger Part III: Hollywood Movies in Broader Perspective: Audiences at Home and Abroad 14. Changing Images of Movie Audiences, Richard Butsch 15. 'Healthy Films from America': The emergence of a Catholic film mass movement in Belgium and the realm of Hollywood, 1928-1939, Daniel Biltereyst 16. The child audience and the 'horrific' film in 1930s Britain, Annette Kuhn 17. Hollywood in Vernacular: Translation and Cross-Cultural Reception of American Films in Turkey, Ahmet Gurata 18. Cowboy Modern: African Audiences, Hollywood Films, and Visions of the West, Charles Ambler 19. 'Opening Everywhere': Multiplexes and the Speed of Cinema Culture, Charles R. Acland 20. 'Cinema Comes to Life at the Cornerhouse, Nottingham': 'American' Exhibition, Local Politics and Global Culture in the Construction of the Urban Entertainment Centre, Mark Jancovich

Designing hybrid places: merging interaction design, ubiquitous technologies and geographies of the museum space

Abstract: In this paper we discuss how geographical notions of space and place can aid designers in creating meaningful interactions between end users and technologically augmented physical spaces—specifically museums. We review the literature that discusses the use of spatial concepts and metaphors within the interaction design field and discuss several examples of interactive museum installations. We then describe how we have incorporated our understanding of place and human experience into the design and development of a hybrid museum space: an interactive exhibition entitled ‘Re-Tracing the Past’ at the Hunt Museum in Limerick, Ireland.

The lens of ludic engagement : evaluating participation in interactive art installations

Abstract: Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.

Children designers in the museum: applying participatory design for the development of an art education program

Abstract: In this paper, we describe the application of a participatory design methodology with children, developed within the context of an informal educational institution, specifically the National Gallery of Art in Athens, Greece. A group of 11 year-olds spent part of their summer learning about art conservation in order to design an on-line art education program targeted to children of their age. This paper presents the research, design, and prototype development process, and discusses the lessons-learned, challenges, and future possibilities of this methodology with respect to the design of museum education programs and exhibitions.

Constructing histories through material culture: Popular Music, Museums and Collecting

Abstract: This article examines how popular music has been represented within museum exhibitions and considers the specificities of collection and display relating to popular music artefacts Using a number of recent exhibitions as examples, it considers how very particular versions of popular music history are constructed through the display of material culture In effect, the institutional logics of museums and art galleries mean that the conceptual underpinning of popular music exhibitions tends to take the form of either canonic representations, the contextualisation of popular music artefacts as art or the presentation of popular music as social or local history The article argues that these types of approach represent a problem for the researcher/curator attempting to reconstruct a truly social history of popular music as they tend to replicate dominant hegemonic versions of history The article then suggests ways in which the popular music curator can actively learn from private collectors in order to give a more balanced representation of a variety of popular music practices Drawing on interviews with private collectors it considers how the material culture of popular music can offer an avenue through which to explore personal and social histories, memory, affect and identity in the exhibition context

Rethinking Evolution in the Museum: Envisioning African Origins

Abstract: Rethinking Evolution in the Museum explores the ways diverse natural history museum audiences imagine their evolutionary heritage. In particular, the book considers how the meanings constructed by audiences of museum exhibitions are a product of dynamic interplay between museum iconography and powerful images museum visitors bring with them to the museum. In doing so, the book illustrates how the preconceived images held by museum audiences about anthropology, Africa, and the museum itself strongly impact the human origins exhibition experience. Although museological theory has come increasingly to recognize that museum audiences ‘make meaning’ in exhibitions, or make their own complex interpretations of museum exhibitions, few scholars have explicitly asked how. Rethinking Evolution in the Museum, however, provides a rare window into visitor perceptions at four world-class museums—the Natural History Museum and Horniman Museum in London, the National Museums of Kenya in Nairobi and the American Museum of Natural History in New York. Through rigorous and novel mixed methods (quantitative and qualitative) covering nearly 500 museum visitors, this innovative study shows that audiences of human origins exhibitions interpret evolution exhibitions through a profoundly complex convergence of personal, political, intellectual, emotional and cultural interpretive strategies. This book also reveals that natural history museum visitors often respond to museum exhibitions similarly because they use common cultural tools picked up from globalized popular media circulating outside of the museum. One tool of particular interest is the notion that human evolution has proceeded linearly from a bestial African prehistory to a civilized European present. Despite critical growths in anthropological science and museum displays, the outdated Victorian progress motif lingers persistently in popular media and the popular imagination. Rethinking Evolution in the Museum sheds light on our relationship with natural history museums and will be crucial to those people interested in understanding the connection between the visitor, the museum and media culture outside of the museum context.

Interactive storytelling and gaming environments for museums: the interactive storytelling exhibition project

Abstract: Interactive storytelling and gaming technologies have great edutainment potential for engaging visitors with museum exhibitions. This paper presents the development and testing of the Interactive Storytelling Exhibition Project devised originally within the Factual and Learning Interactive Television Department of the British Broadcasting Corporation (BBC) and continued development at the University of Brighton. The project combines both interactive television storytelling and gaming technologies to immerse museum visitors with artefacts on exhibition, engaging the user into physical space using virtual stories.

Grand Designs: Labor, Empire, and the Museum in Victorian Culture

Abstract: List of Illustrations xi Acknowledgments xv 1. Introduction Chapter One. Configuring Design: Artisans, Aesthetics, and Aspiration in Early Victorian Britain 19 Chapter Two. Originality and Sin: Calico, Capitalism, and the Copyright of Design, 1839-1851 52 Chapter Three. Commodification and Its Discontents: Labor, Print Culture, and Industrial Art at the Great Exhibition of 1851 86 Chapter Four. Principled Disagreements: The Museum of Ornamental Art and Its Critics, 1852-1856 126 Chapter Five. Cultural Locations: South Kensington, Bethnal Green, and the Working Man, 1857-1872 160 Afterword. Travels in South kensington 191 Notes 203 Bibliography 253 Index 293

‘This way to the exhibition’: genealogies of urban spectacle in Jean Rhys's interwar fiction

Abstract: Both Jean Rhys's relationship to modernism and her representation of urban space need to be understood as engaging with a tangled history of exhibitory practices informing metropolitan spatiality. I trace this engagement through the interwar fiction, to Good Morning, Midnight (1939). Through her insertion into the latter text of the 1937 Paris World's Fair, Rhys presents the 'exhibition' as exemplary for a regime of metropolitan representation based on an imperial legacy of ethnographic-cumcommodity display. Her exploration of urban space, through the related sites of the hotel, the exhibition and the street, draws on the Surrealist aesthetics of dream and automatism, which offer crucial, if highly ambiguous, strategies for uncovering the interdependence between metropolitan and colonial spaces within daily life, notably the use of ethnography as a critical and diagnostic tool to be employed both within and against the institutional spaces of art. Rhys's relationship to modernism thus turns on the status of ethnographic display within metropolitan perception, and on its role as a hidden link between capitalist and fascist modernities.

Artbotics: Combining Art and Robotics to Broaden Participation in Computing

Abstract: The Artbotics program is a collaboration between artists and computer scientists which uses robotics technologies to teach computer science to undergraduates and high school students. Project-based courses culminate in public exhibitions at a local museum. This paper describes the curriculum developed for the course, the technology used and lessons learned.

Modernism, the Visual, and Caribbean Literature

Abstract: List of illustrations Acknowledgements 1. Transfigurations 2. Exhibitions/modernisms 1900-1939 3. Exile/Caribbean eyes 1928-1963 4. Ekphrasis/diasporic Caribbean imaginations 1960-2000 Conclusion Notes Bibliography Index.

Displaying lives: the narrative of objects in biographical exhibitions

Abstract: Biographical exhibitions are a museum practice that asks for critical consideration. Grounding the argument in critical theory, social studies and museum theory, the article explores the narrative function of objects in biographical exhibitions by addressing the social significance of objects in relation to biography and their relevance when presented into an exhibition display. Central is the concept of objects as ‘biographical relics’ that are culturally fetishized in biographical narratives. This raises questions about biographical reliability and the cultural role that such objects plays in exhibition narratives as bearers of reality and as metonymical icons of the biographical subject. The article considers examples of biographical exhibitions of diverse figures such as Gregor Mendel, Madame de Pompadour and Roland Barthes, and the role that personal items, but also portraits and photographs, play in them.

“We Always Spend Time Together on Sundays”: How Grandparents and Their Grandchildren Think About and Use Informal Learning Spaces

Abstract: This study compared grandparent–grandchild groups who experienced an informal science exhibition by visiting a museum or by visiting a website. Although intergenerational learning is often the focus of visitor research, few studies have focused specifically on grandparents as an audience. Do they have unique intergenerational needs that museums and websites are not yet supporting? Do they find museums and websites to be good places to learn alongside their grandchildren? The authors' findings suggested that grandparents prefer museums as locations for intergenerational learning because the museum environment is more supportive of social engagement in ways that allow grandparents to accomplish their own visiting agendas. In contrast, the web appeared to introduce conflict between grandparent and grandchild agendas.

A History of Artists' Film and Video in Britain 1897-2003

Abstract: This book was published following the success of the Tate Britain exhibition 'A Century of Artists’ Film in Britain' which I curated in 2003. The research is similarly based on the unique documentation of the CSM Artist’ Film and Video Study Collection and is a culmination of a long period of engagement with the history. It summarises the achievement of moving-image makers in their cultural, economic and social context. It examines artist-led and state-provided institutions that have supported the development of the art-form including; the Film Society; the London Filmmakers Co-op; film/video in higher-education; the nurturing of ‘installation-art’ by the public-gallery system, and the function of the artists’ committees at the Arts Council and the BFI Experimental Film Fund. These UK phenomena are placed in an international context, discussing comparable institutions abroad, and the development of international artists’ networks, forums and festivals. It is the first comprehensive historical survey of artists’ filmmaking in Britain including important forgotten or overlooked artists and works and links are established between pre and post-war movements. Differences and continuities in artists’ working practices and distribution strategies across decades are analysed.