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About Us
VCRG is concerned to explore and analyse all forms of visuality and visual culture. In a period of ‘convergence’ where the boundaries between different practices are becoming increasingly permeable, VCRG provides a meeting point for the development of a wide range of inter- and cross-disciplinary research that challenges conventional ways of thinking and existing subject boundaries. VCRG’s prime purpose is to generate ideas, new knowledge and innovative critical methodologies. Members of the Group engage in a variety of partnerships and joint projects with other academics, practitioners, and public and commercial organisations, in order to explore critically cultural hierarchies, taste regimes, practices of looking and the nature of perception.

The Group’s research directly informs teaching and learning in the Department of Art and Design at both under- and postgraduate levels, from the first year ‘Introduction to Visual Culture’ through to doctoral study. The Group acts as a forum for curriculum development, the generation of ideas for symposia and lecture series, and forms of public engagement, as well as bids for external funding. In addition to organising collective events, members of the Group act as sympathetic advisers for each other’s work (research bids/book proposals etc) with the Group’s Director acting as mentor for individuals’ research and co-ordinator of the Group’s research. The Group also has a clear focus on
REF 2014 (UoA 34), providing a stimulating environment where outputs can be generated, nurtured and developed.

VCRG aims to become a central focus for research within the Department of Art and Design.

'Pauline Boty Acts Out One Of Her Paintings For A Popular Newspaper'  Tracey Emin : 'I've Got It All'  Lionel Stander and Michael Caine in Pulp (1972), directed by Mike Hodges and produced by Michael Klinger  Classic Film Noir: Alan Ladd as the hitman Philip Raven in This Gun for Hire (1942).

Within this overarching framework, the Group has a central focus on creativity, the creative industries and the role of the creative practitioner. Our theoretical and empirical work addresses a broad range of questions that include:
  • How has ‘creativity’ and the role of the creative practitioner been understood historically and how have they changed in the transformed cultural landscape
    of post-industrial ‘disorganised’ capitalism?
  • What new demands are being made of the creative practitioner? What new skills and knowledges are required? What strategies are evolving to cope with
    these new demands?
  • How do the present-day Creative Industries function, economically, socially and culturally?
  • The rapid increase in visual information increases the salience of a politics of representation, creating new spaces, opportunities and challenges for artists
    exploring ethnicity, race, religion and gender. What role do
    gender and ethnicity play in these broader changes?
  • Women artists are visible on the global art scene in a way that completely outstrips their position a generation ago. How this hard-won space has has
    been occupied and used creatively?
  • What new questions are emerging from black and other minority ethnic artists who explore issues of identity politics in their work?
  • Can participatory and community based practices influence and spearhead innovation within more mainstream creative industries, and approaches to
    creativity in general?
The Creative Practitioner: Oral History & Archiving
VCRG has a significant and sustained interest in the practices of oral history and archiving as these relate to the activities of creative practitioners. It hosts two nationally recognised archives: a) Recording the Crafts (formerly NEVAC - The National Electronic Archive of the Crafts); b) The Michael Klinger Papers (AHRC Research Project).

VCRG also hosts: films made within UWE (1975 >) including degree show videos, public information films, student presentations, lectures etc; The International Contemporary Vitreous Enamel Archive and the print archive that exist as File Maker Pro databases; The Tony Klinger archive (material relating to contemporary film and music industries).

These archives are a valuable staff and student resource and are the subject of research funding bids.