Fine Art | Sheffield Hallam University

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Fine Art

  • CRIR

    A critical inquiry into developing new methodologies and contexts for urban research, aiming to prototype a dialogue, which is both local and global

  • Reading as art

    Reading as art is a series of events conceived as reading interventions or library 'occupations at the ICA, London, convened by Sarah Wood.

  • Reproductions I and III

    Reproductions I and Reproductions III are two limited edition book subscriptions, produced in association with DOMOBAAL, London. Each is drawn from the artist's extensive collection of postcards and other ephemeral source material.

  • Animal Human (Sticky Knots)

    This strand of research considers the representation of animals in society and culturally. Through the work Chloë Brown asks how do humans interact with animals, how are animals displayed and how does our relationship with animals shape our understanding of them philosophically, culturally and socially?

  • Artists' Publications

    Chloë Brown has long been involved in the field of artists’ publications and is particularly interested in the impact that Sol LeWitt has had on the field. She was a member of the Research Group for Artists Publications (RGAP) from 1995 to 2013 supporting the publication of artists book works and editions, disseminating these works, and pursuing debates relating to this area of practice through publications, symposia, conferences, workshops, and the annual Small Publishers Fair run by RGAP in Conway Hall, London each Autumn.

  • 20 Euros per kilo

    This a key work representing an ongoing enquiry into the politics and economics of commodified labour in a global economy. 20 Euros per kilo (2011) was commissioned by Static Gallery Liverpool, and Peter Gorschlüter, Deputy Director Museum für Moderne Kunst Frankfurt, for the exhibition and conference 'Terminal Convention'. Shaw develops a critically engaged enquiry into the language of sculpture, narrative and exhibition that chronicles the life of an object and its concealed modes of production.

  • The Manufacture of Ultramarine Blue

    In the work, ultramarine blue (an artificial lapis lazuli once made in Backbarrow and still made in Hull) was ‘recreated’ through a cyclical process using ‘leisure activity’ instead of hard labour.

  • Transfer

    The process of making work is like a large-scale act of reverse engineering, attempting to unpack aspects of social life and especially values. An example of this was the work Transfer, made in response to Manchester Royal infirmary.

  • Getting Real

    Fascinated by the way social life is embedded in material form, Becky Shaw has focused on ‘unpacking’ objects. An example of this is the work Getting Real, in which she responded to the course Forensic Engineering at Sheffield Hallam University.

  • Local Colour

    Becky Shaw was commissioned by IncertainPlaces Preston to explore the impact of gentrification on the high street. One aspect of interest was the role of big retail chains in generating positive development at the same time as being responsible for homogenising diverse areas.

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