www.postgraduateconversations.weebly.com
  • About Us
    • Dr Jolande Bosch
    • Dr Kate Craddock
    • Dr Sachiyo Goda
    • Dr Paul Harvey
    • Dr Su-Lien Hsieh
    • Dr Christina Kolaiti
    • Dr John Lavell
    • Dr Andrew McNiven
    • Dr Hiroko Oshima
    • Dr Apichart Pholprasert
    • Dr Emma Radley
    • Dr Alexandra Rowe
    • Dr Hadi Shobeirinejad
    • Judy Thomas
    • Ikuko Tsuchiya MPhil
    • Dr Poyan Yee
  • Projects
    • Doctoring - the evidence >
      • Dr Jolande Bosch (NL)
      • Dr Krien Clevis (guest #2)
      • Dr Sachiyo Goda (JP)
      • Dr Paul Harvey (UK)
      • Dr John Lavell (RU)
      • Dr Andrew McNiven (UK/GE)
      • Dr Christina Kolaiti (GR/UK)
      • Dr Hiro Oshima (JP)
      • Daniela de Paulis (guest #2)
      • Dr Apichart Pholprasert (TH)
      • Dr Alexandra Rowe (UK)
      • Dr Hadi Shobeirinejad (IR)
      • Dr Krien Clevis (NL)
      • Dr Poyan Yee (HK)
      • Jennine Wilson (guest #1)
    • Packing for the Crash
    • All Maps Welcome
    • SWAP 195
  • Contact & Links

THE POWER OF NAMING; CO-OPTION IN FINE ART PRACTICE

Foto
Foto
Foto
website John Lavell



Education                                            

2005-2010  Practice-led PhD                        Northumbria University, Newcastle-upon-Tyne
2003-2004  MA Fine Art                                 Northumbria University, Newcastle-upon-Tyne
1993           C&G (7307) Art Education         City College, Liverpool
1988-1991  BA (Hons) Fine Art                     Newcastle Polytechnic, Newcastle-upon-Tyne
1986-1988  B/Tec Diploma Art& Design      City College, Liverpool

Educational Experience

2012-  Senior Fine Art Lecturer                    British Higher School of Art and Design, Moscow
2008-2012  Fine Art Lecturer                        Northumbria University, Newcastle-upon-Tyne
2008-2012  Foundation (Overseas) Art Studies Tutor Northumbria University, Newcastle-upon-Tyne
2008-2010  Foundation Diploma/Degree Art TutorTyne Metropolitan College, Newcastle-upon-Tyne 
2002-2003  Art Teacher                                  Osaka International School, Mino, Japan
1999-2001  Assistant Language Teacher     Hirakata Board of Education, Hirakata, Japan
1997-1999  Senior Instructor                         GEOS Language Systems, Wakayama, Japan

Selected Exhibitions     


2016  BoConcept, Ukrainian Blvd, Moscow, Russia
2015  Pushpin (ii) Moscow Contemporary Arts Centre, Moscow, Russia
2015  Doctoring the Evidence #1: Ten Cities, Square Yard Gallery, Newcastle-upon-Tyne
2015  The 2nd Nanjig International Art Festival, Nanjing, China
​
2014  Pushpin, Pop-up Gallery, Moscow, Russia
2012  The Devil Makes Work For Idle Hands, Toomey Turell Fine Art, San Francisco, USA 
2012  Digilogue, Unit 44, Hoults Yard, Newcastle-upon-Tyne
2012  Intersections, Centre for Life, Newcastle-upon-Tyne
2012  Black Prince/Gray Prince, We Are Open Gallery, Middlesbrough
2011  Emblem of My Work, Shandy Hall, Coxwold
2011  Father, Wolstenholme Creative Space, Liverpool
2011  Salon Art Prize, Matt Roberts Gallery, London
2011  In a Constant State of Flux@151, Newcastle-upon-Tyne 
2011  The Obsessive Surface, Moving Gallery, Newcastle-upon-Tyne
2009  Packing for the Crash, Gallery North, Newcastle-upon-Tyne
2009  Northern Print Biennale, Laing Gallery, Newcastle-upon-Tyne
2008  Japan to Northumbria, Gallery North, Newcastle-upon-Tyne
2007  Saikaide Grand Prix, Kagawa, Japan
2006  The Draughtsman’s Contract, Crook Hall Exhibition, Durham
2006  Dare to Dream, Merseyside Maritime Museum, Liverpool
2003  Mushin, Art Box Gallery, Osaka, Japan
2001  Washi, Papa Jon’s Gallery, Kyoto, Japan
1999  Drawings and Prints
, Wakayama Civic Gallery, Japan

Artist-in-Residence  

2012 (Summer) Hafnarborg Centre of Culture and Fine Art, Iceland
2013 (Summer) The Emily Harvey Foundation, Venice

Upcoming: 2015 (Summer) Swatch Peace Hotel, Shanghai

Selected Projects     

A Library is on fire 
Lime Street Gallery http://alibraryisonfire.com/index.html

Unfinished Business 
Wallington Hall   http://unfinishedbusinessatwallington.weebly.com/

3º of Separation
Invited artist presentation, High Bridge Studios and Gallery, Newcastle-upon-Tyne  "http://www.3degreesofseparation.co.uk/" \o "" http://www.3degreesofseparation.co.uk/

Delay (Delayed by illness) 
Panellist, Northumbria University:  'Forensic Traces and Indexical Signs’

"http://gn.northumbria.ac.uk/gn/news/delay" http://gn.northumbria.ac.uk/gn/news/delay

Publications     
Essay: CONVOLUTION Number 3 (USA).
Blunt Force Trauma, Portfolio: Emerging research in Visual Culture.
He is dead and he is going to die: Introductory essay for Adam Hogarth and Sebastian Trend. UK touring exhibition.
I Can’t Follow You If You Don’t Move: Introductory essay for Graeme Durant and Andrew Maughan. USA touring exhibition.

Abstract Thesis  

At every possible level, from undergraduate study to postgraduate research and teaching, art school practitioners working in the field of fine art have to negotiate the relationship between theory and practice. This practice-led research project involves an investigatory journey in which I explore the terrains of ‗interest‘ that have opened up, stimulated, and then informed, my studio and exhibition practices since I was an undergraduate art student. It is a journey that plots a shift from illustrative to poetic forms of creative practice. My central concern has been to understand how these theoretical terrains of interest interact with the practical production of artworks whilst remaining separate, self-sufficient entities. As a result, my aim has been to produce a doctoral submission in which the exhibition of artworks has an equivalent role to the thesis. In practice-led research neither should be subservient to the other.  

My thesis proposes that the most persuasive way to respond to my topic is through an exploration of the indexical sign (as defined by C. S. Peirce) and the power of naming (as described in Michel Foucault‘s critique of the scientific systems of classification, resemblance, signs and signatures). My chapters explore, firstly, my interests in natural history classification and the political interpretations that critique the history of these systems and ideas; secondly, my interests in the forensic theories that notice the physical signs at a crime scene and then interpret them as indicators of criminal intentions; and lastly, my interest in the productive conflict created through the juxtaposition of poetic artworks and forensic titles, a combination that either ignores or celebrates the indexical nature of my studio techniques. 

 A period of living and working in Japan, where I studied the martial art of Kendo, was responsible for transforming my fascination with lists and glossaries into an interest in the creative tension between waza and keiko, between rigorous technique and intuitive freedom. The conclusion of my research journey applies a range of ideas about, and methodological engagements with, the power of naming to the realm of practice-led research which is, for this researcher, situated on the shadowy side of the poetics of exhibition reception. 









Powered by Create your own unique website with customizable templates.