cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.17870/bathspa.12826562.v1
title: The Arctic & Antarctica: Scaling The Sublime, Djanogly Gallery, Nottingham UK, 23rd March - 17th June 2018.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions. Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the Contemporary Sublime.<br><br>This item contains a press release, 2 exhibition posters, and 5 exhibition views and a video of the installation work <i>After Life</i>.<br><br>This item documents the inclusion of <b>After Life</b> (2016) in <i>Scaling The Sublime: Art At The Limits Of Landscape, </i>an<i> </i>exhibition of 7 artists who share concern for the landscape as a platform for shared exploration of wider narratives of scale, time and perceptual relationships to landscape. Stemming from a 2014 mixed media work <i>Between Two Tides</i> and the 2015 research trip to Greenland, <b>After</b><b> Life</b> is a large multi disciplinary installation that references Caspar David Friedrichs 1824 painting <i>Sea of Ice, </i>consisting of<i> </i>a model ship trapped in constructed ice at its centre, a vitrine work, 3 wall hung screens with looped video footage of moving fragmented ice, and 4 3D images of the Arctic landscape.<br><br>As part of the exhibition a panel discussion, <i>Contemporary Art and the Landscape Sublime</i> with participating artists was hosted by co-curator Nicholas Alfey, and a symposium was held, <i>Scaling The Sublime </i>that invited<i> </i>speakers to reflect on why landscape is a compelling subject in contemporary artThe exhibition was curated by art historian Nicholas Alfey and artist Rebecca Partridge.<br><b><br>Photography: Images used with permission courtesy of the Djanogly Gallery.<br></b><b><br>Poster and promotional material used courtesy of Lakeside Arts.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12816323
title: The Arctic & Antarctica: Echo Chamber, Pedro Cera, Lisbon, Portugal, April 12th - May 19th 2018.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions . Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the Contemporary Sublime.<br><br>This item contains an exhibition press release and 6 exhibition views.<br><br>This item documents the inclusion of 3 of Neudecker's <b>Arctic/Antarctica </b>works as part of her solo survey exhibition, <i>Echo Chamber</i> at Pedro Cera in Lisbon, Portugal in 2018.<br><br>The first was a tank work <b>Some Things Happen All At Once </b> 2014 which was based on the Halley Vl Antarctica Research Station, and made for <i>ANTARCTOPIA</i>, an exhibition in the Antarctica Pavilion, at the 2014 Venice Architecture Biennale.<br><br>Secondly, <b>On the Other Side</b> 2016 a wall hung, stainless steel stereoscopic viewer and image. <b>Less Far and Further</b> 2018 was another tank piece made for this exhibition<br><br><b>Photography: Courtesy of Pedro Cera Gallery, Lisbon, Portugal. Used with permission. </b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12816323.v1
title: The Arctic & Antarctica: Echo Chamber, Pedro Cera, Lisbon, Portugal, April 12th - May 19th 2018.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions . Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the Contemporary Sublime.<br><br>This item contains an exhibition press release and 6 exhibition views.<br><br>This item documents the inclusion of 3 of Neudecker's <b>Arctic/Antarctica </b>works as part of her solo survey exhibition, <i>Echo Chamber</i> at Pedro Cera in Lisbon, Portugal in 2018.<br><br>The first was a tank work <b>Some Things Happen All At Once </b> 2014 which was based on the Halley Vl Antarctica Research Station, and made for <i>ANTARCTOPIA</i>, an exhibition in the Antarctica Pavilion, at the 2014 Venice Architecture Biennale.<br><br>Secondly, <b>On the Other Side</b> 2016 a wall hung, stainless steel stereoscopic viewer and image. <b>Less Far and Further</b> 2018 was another tank piece made for this exhibition<br><br><b>Photography: Courtesy of Pedro Cera Gallery, Lisbon, Portugal. Used with permission. </b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12816344
title: The Arctic & Antarctica: Sediment, Limerick City Gallery of Art, Limerick, Ireland, 6th September - 17th November 2019.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions. Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the Contemporary Sublime.<br><br>This item contains 1 press release and 19 exhibition views.<br><br>This item documents 9 of Neudecker's <b>Arctic & Antarctica</b> works exhibited as part of <i>Sediment</i>, a solo survey show at Limerick City Gallery of Art in 2019. An <i>In Conversation</i> between the artist and Arian Koek discussed the works Between Two Tides and On the Other Side as particular ways of trying to calculate and capture the un-measurable and un-describable.<br><br><b>Photography: Benjamin Jones. Images used with permission courtesy of the photographer and Limerick City Gallery of Art.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12816344.v1
title: The Arctic & Antarctica: Sediment, Limerick City Gallery of Art, Limerick, Ireland, 6th September - 17th November 2019.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions. Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the Contemporary Sublime.<br><br>This item contains 1 press release and 19 exhibition views.<br><br>This item documents 9 of Neudecker's <b>Arctic & Antarctica</b> works exhibited as part of <i>Sediment</i>, a solo survey show at Limerick City Gallery of Art in 2019. An <i>In Conversation</i> between the artist and Arian Koek discussed the works Between Two Tides and On the Other Side as particular ways of trying to calculate and capture the un-measurable and un-describable.<br><br><b>Photography: Benjamin Jones. Images used with permission courtesy of the photographer and Limerick City Gallery of Art.</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12994070
title: The Arctic and Antarctica: Greenland Research Trips 2012 and 2015.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions. Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the contemporary Sublime.<br><br>This item documents Neudecker's 2 research trips to Greenland, the first in 2012 that included a 5 day expedition with Inuit subsistence hunters, and the second in 2015 with <i>Project Pressure </i>to document receding glaciers. The research conducted on both trips had a significant impact on the development of subsequent works and exhibitions.Also included in this item is <i>Lamentations, </i>a brief essay by Neudecker reflecting on her experience during her first Greenland expedition and is included in <i>Hinterland</i> , a collection of essays about her work which was published by the Trondheim Kunstmuseum, in 2014. and was edited by Pontus Kyander, Director of Trondheim Kunstmuseum, Norway.<br><br><b>Photography by Mariele Neudecker. Images used with permission.<br></b><br><b>A feature in the Guardian's <i>In Pictures</i> documents Neudecker's visit in <i>Greenland Glaciers through an artist's eyes:</i></b><b>https://www.theguardian.com/environment/gallery/2016/feb/25/greenland-glaciers-mariele-neudecker-klaus-thymann-project-pressure<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12994070.v1
title: The Arctic and Antarctica: Greenland Research Trips 2012 and 2015.

description: Two pivotal research trips to Greenland in 2012 and 2015 extended Neudecker’s ongoing research into how the legacy of the Romantic Sublime and limited visual representations shape our perceptions of the Arctic regions. Questioning notions of wilderness in the context of current environmental and geopolitical realities this collection generates new perspectives on the contemporary Sublime.<br><br>This item documents Neudecker's 2 research trips to Greenland, the first in 2012 that included a 5 day expedition with Inuit subsistence hunters, and the second in 2015 with <i>Project Pressure </i>to document receding glaciers. The research conducted on both trips had a significant impact on the development of subsequent works and exhibitions.Also included in this item is <i>Lamentations, </i>a brief essay by Neudecker reflecting on her experience during her first Greenland expedition and is included in <i>Hinterland</i> , a collection of essays about her work which was published by the Trondheim Kunstmuseum, in 2014. and was edited by Pontus Kyander, Director of Trondheim Kunstmuseum, Norway.<br><br><b>Photography by Mariele Neudecker. Images used with permission.<br></b><br><b>A feature in the Guardian's <i>In Pictures</i> documents Neudecker's visit in <i>Greenland Glaciers through an artist's eyes:</i></b><b>https://www.theguardian.com/environment/gallery/2016/feb/25/greenland-glaciers-mariele-neudecker-klaus-thymann-project-pressure<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12489626.v1
title: Public Acts: Brutal and Beautiful: 50 Years in the Life of Preston Bus Station, Harris Museum and Art Gallery, Preston,Lancashire, 21st September - 24th November 2019.

description: <b>Public Acts</b> brings together 2 projects that through temporary public intervention, seek to alter perceptions of our daily interactions in public spaces, turning the functional and recreational into acts both poetic and performative.<br><br>This item contains a project outline, an exhibition leaflet, a quad screen video, 2 video stills, 3 installation views, 3 images of soundtrack cassette and a score drawing.<br><br>This item documents the inclusion of <b>Conductor 8 Movements,</b> a 3 screen installation, in the exhibition <b>Brutal and Beautiful: 50 Years In the Life of Preston Bus Station </b>to mark<b> </b>the 50th Anniversary<b> </b>of Preston Bus station held at the Harris Museum and Art Gallery, Preston. The 3 screen installation was a film created by Jared Schiller from CCTV footage of a live 60 minute choreographed performance that Harrison staged at Preston Bus Station, involving 32 buses and a team of volunteers on 14th July 2019. The soundtrack to <b>Conductor 8 Movements</b> was created by Preston Field Audio and was produced in cassette form for the launch of the exhibition at the Harris Museum on 21st September 2019.<b>Conductor 8 </b>was commissioned by 'In Certain Places' and the Harris Museum and Art Gallery.<br><br>Film and photography by Jared Schiller. <br>Film and images used with permission courtesy of the photographer.<br><br>Soundtrack by Carl Brown, Preston Field Audio.<br><br>Design & Artwork by ROHTUL XEL<br>Used with permission.<br><br><b>A link to Conductor via bandcamp:</b><b>https://setfootpress.bandcamp.com/track/conductor-recorded-at-preston-bus-station</b><br><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12783278
title: New Expressions 3: Heavy Rock/Plymouth Sound 2015: 300 Word Statement.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains a 300 word statement on <b>Heavy Rock</b> by Keith Harrison
DOI: 10.17870/bathspa.12783278.v1
title: New Expressions 3: Heavy Rock/Plymouth Sound 2015: 300 Word Statement.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains a 300 word statement on <b>Heavy Rock</b> by Keith Harrison
DOI: 10.17870/bathspa.12783296
title: New Expressions 3: Heavy Rock/Plymouth Sound 2015: Research Questions and Research Timeline.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains Research Questions and a Timeline on <b>Heavy Rock| Plymouth Sound</b> by Keith Harrison.
DOI: 10.17870/bathspa.12783296.v1
title: New Expressions 3: Heavy Rock/Plymouth Sound 2015: Research Questions and Research Timeline.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains Research Questions and a Timeline on <b>Heavy Rock| Plymouth Sound</b> by Keith Harrison.
DOI: 10.17870/bathspa.12783299.v1
title: New Expressions 3: Heavy Rock|Plymouth Sound at Karst, Plymouth, 18th July - 18th September 2015.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains an image of the painting that inspired the project, an exhibition outline, 6 developmental drawings, a pdf of Will Gregory's <i>Breakwater</i> score, 2 images of the opening event, 6 exhibition views, 4 of the closing event, 4 images of the public boat trip and a documentary film about the project.<br><br>This item documents the exhibition of <b>Heavy Rock | Plymouth Sound, </b>at KARST, Plymouth in 2015. The exhibition consisted of a series of developmental drawings, Will Gregory's printed score and 1:20 scale editions of a Wavebeaker centred around a life size wooden replica of the <b>Heavy Rock</b> Wavebreaker mould Harrison had created in collaboration workers and engineers at the Devonport Dockyard, with underwater recordings played through the mould. The launch of the exhibition featured a performance by a Royal Marine Quintet and the closing event staged the first performance of <i>Breakwater</i> Will Gregory's commissioned score by a 24 piece Royal Marine Band. A film about the project <i>HeavyRock</i> made in collaboration with Jared Schiller was also screened at the KARST exhibition.<br><br><b>Photography: Dom Moore. Images used with permission courtesy of the photographer and KARST.</b><b><br>Video used with permission courtesy of Jared Schiller.<br><br>Laying Foundation Stone of Plymouth Breakwater</b><b>George Barret the younger (c.1767–1842)</b><b>Photo credit: The Box (Plymouth City Council)</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12783299
title: New Expressions 3: Heavy Rock|Plymouth Sound at Karst, Plymouth, 18th July - 18th September 2015.

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains an image of the painting that inspired the project, an exhibition outline, 6 developmental drawings, a pdf of Will Gregory's <i>Breakwater</i> score, 2 images of the opening event, 6 exhibition views, 4 of the closing event, 4 images of the public boat trip and a documentary film about the project.<br><br>This item documents the exhibition of <b>Heavy Rock | Plymouth Sound, </b>at KARST, Plymouth in 2015. The exhibition consisted of a series of developmental drawings, Will Gregory's printed score and 1:20 scale editions of a Wavebeaker centred around a life size wooden replica of the <b>Heavy Rock</b> Wavebreaker mould Harrison had created in collaboration workers and engineers at the Devonport Dockyard, with underwater recordings played through the mould. The launch of the exhibition featured a performance by a Royal Marine Quintet and the closing event staged the first performance of <i>Breakwater</i> Will Gregory's commissioned score by a 24 piece Royal Marine Band. A film about the project <i>HeavyRock</i> made in collaboration with Jared Schiller was also screened at the KARST exhibition.<br><br><b>Photography: Dom Moore. Images used with permission courtesy of the photographer and KARST.</b><b><br>Video used with permission courtesy of Jared Schiller.<br><br>Laying Foundation Stone of Plymouth Breakwater</b><b>George Barret the younger (c.1767–1842)</b><b>Photo credit: The Box (Plymouth City Council)</b><br><b>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12962843
title: Heavy Rock|Plymouth Sound, New Arts Centre, Roche Court, Wiltshire, 14th May - 24th July 2016

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains an exhibition invitation, 3 images of the Heavy Rock installation and 2 sound recordings taken from the wavebreaker out at sea and transmitted through the wooden replica mould.<br><br>This item documents the inclusion of Harrison's <b>Heavy Rock|Plymouth Sound in Material language: New Work In Clay, </b>at the New Arts Centre in Wiltshire<b>. </b>It was<b> </b>a group exhibitio<b>n </b>featuring 9 contemporary artists working with ceramics. Commissioned by New Expressions 3 in 2015. and developed in response to a painting by George Barret the Younger in 1812 <i>'Laying the Foundation Stone of Plymouth Breakwater</i>’ held in the PMAG Collection, <b>Heavy Rock</b> was originally staged in Plymouth at Karst and on Plymouth Sound. <b> </b>Adapted for <b>Material Language</b> at the New Arts centre in 2016 <b>Heavy Rock </b>took the form of a specially fabricated marine ply version of the wooden replica Wavebreaker mould and was installed in the grounds of the New Arts Centre transmitting sound recordings from the original Wavebreaker that was in position on the Plymouth Breakwater. Five A1 developmental drawings were also shown together with six 1;20 edition concrete models of the Wavebreaker.<br><b><br>Material Language</b><i>: New Works in Clay</i> was curated by Sarah Griffin and Alun Graves.<br><b><br>Photography courtesy of the artist. Used with permission.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>
DOI: 10.17870/bathspa.12962843.v1
title: Heavy Rock|Plymouth Sound, New Arts Centre, Roche Court, Wiltshire, 14th May - 24th July 2016

description: A contemporary response to the historic collections held at the Plymouth City Museum and Art Gallery, <b>Heavy Rock|Plymouth Sound</b> focused on the unceasing hidden construction process of the concrete Breakwater in Plymouth Sound. This public project extends Harrison's ongoing research into transforming matter through sound and making hidden processes public.<br><br>This item contains an exhibition invitation, 3 images of the Heavy Rock installation and 2 sound recordings taken from the wavebreaker out at sea and transmitted through the wooden replica mould.<br><br>This item documents the inclusion of Harrison's <b>Heavy Rock|Plymouth Sound in Material language: New Work In Clay, </b>at the New Arts Centre in Wiltshire<b>. </b>It was<b> </b>a group exhibitio<b>n </b>featuring 9 contemporary artists working with ceramics. Commissioned by New Expressions 3 in 2015. and developed in response to a painting by George Barret the Younger in 1812 <i>'Laying the Foundation Stone of Plymouth Breakwater</i>’ held in the PMAG Collection, <b>Heavy Rock</b> was originally staged in Plymouth at Karst and on Plymouth Sound. <b> </b>Adapted for <b>Material Language</b> at the New Arts centre in 2016 <b>Heavy Rock </b>took the form of a specially fabricated marine ply version of the wooden replica Wavebreaker mould and was installed in the grounds of the New Arts Centre transmitting sound recordings from the original Wavebreaker that was in position on the Plymouth Breakwater. Five A1 developmental drawings were also shown together with six 1;20 edition concrete models of the Wavebreaker.<br><b><br>Material Language</b><i>: New Works in Clay</i> was curated by Sarah Griffin and Alun Graves.<br><b><br>Photography courtesy of the artist. Used with permission.<br></b><b><br>The work is under copyright and may not be used without permission. Use of this repository acknowledges cooperation with its policies and relevant copyright law.</b>