Bruce Haines is a full time 2nd yr PhD student based in the School of Critical Studies and Creative Industries at Kingston University/Kingston School of Art. He is the co-founder of Ancient & Modern, a commercial art gallery which ran for ten years to 2016, and worked for 13 years as a curator in the public sector before that, organised “Folk Archive, contemporary popular art in the UK” with Jeremy Deller and Alan Kane (touring seven institutions 2002-5 before being sold to the British Council) and worked in 4 institutions (Mostyn Gallery 1996-1999), what was CVA Cardiff 1999-2001, institute of International Visual Arts 2001-04 and Camden Arts Centre 2004-09). In 2009 he curated the Wales at Venice Pavilion with former Velvet Underground musician John Cale. His PhD attempts to combine scholarliness and business with a view to looking at what different models of representing emerging artists in the commercial gallery sector might look like.
John Hughes is a PhD student in the Contemporary Art Research Centre at Kingston School of Art, experimenting with combinations of sound collage, voice and narrative. John’s sound work has been heard in The London Open, Whitechapel Gallery (2012), Voiceworks, Wigmore Hall (2015) and New Contemporaries, Club Row (2006). His solo show Have A Nice Day (2007) was installed at the Hounds Hill Shopping Centre, commissioned by the Blackpool Museum of Contemporary Art. In 2013 he was Artist in Residence at studio1.1, London and also took part in Braziers International Artist Workshop residency programme, Oxfordshire in 2007.
The Use of Media to Facilitate the Presentation of Emotive Research
The art world has become increasingly polarised, economically powerful art galleries opening multiple outposts across the globe, while in mid and small scale galleries close. Yet the gallerist as a connecting, distributing, managing and selling force is a role often seen in other creative industries and one that remains an intriguing proposition. While the developmental stage in the gallery eco-system is acknowledged as important even if sometimes in a rather romantic context (Bowman, 1989), the emphasis invariably gravitates towards the prevailing trend for growth at all costs: “Growing with the artist is a nice idea. But if they don’t grow, you die. So better diversify” (Resch, M, 2015). The practical element of my PhD addresses the problematic position occupied by the emerging gallery ‘model’, and will be presented as a form of exhibition which may, in the final presentation, include the compilation of gallery narratives assembled from interviews I make with ex-gallerists: a kind of ‘how to’, or ‘how not to’, or ‘why you should not’, guide using candid confessions, and more often than not internalised dialogues and doubts expressed by gallery casualties (or maybe they are the survivors) that are mostly hidden from view. A recent social sciences study (Elias, Chiles, Duncan, Vultee, 2018) articulates the validity of feelings, intuition and internal dialogues in business development. Acknowledging such precedents, I propose to test one of the outcomes of the methodology I am employing in my research through transcribing some of the interviews, edited in the interests of confidentiality, and have them re-narrated, to be played through an audio-speakers rather than as a live performance. In any case this use of media to facilitate the presentation of emotive research, I thought, might be interesting to try out in the context of the conference.