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- University of Derby
- 32 - Art and Design: History, Practice and Theory
- Submitting institution
- University of Derby
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Summary impact type
- Societal
- Is this case study continued from a case study submitted in 2014?
- No
1. Summary of the impact
The impact of this case study stems from complementary artistic research practices that enhance public understanding of and engagement with the more-than-human world. These practices produce encounters, events and interactions that reconfigure perceptions of the relation between humans, ‘nature’, politics and history in the face of climate emergency. The researchers contribute to this study as experimental practitioners, performers and activists. They create participatory experiences designed to challenge notions of human exceptionalism. The research reinforces public awareness of human entanglement in and responsibilities towards the ‘natural world’, leading to behavioural impacts as a consequence of that awareness.
2. Underpinning research
The activities detailed in this ICS collectively ask, how might environmental encounters configured by artistic research contribute to different ecological imaginaries and futures, and foster practices which shift people’s understanding of human relationships to the environment.
Locke’s research creates and positions artworks as sensory encounters between humans and more-than-humans (e.g. trees, water, ice), to translate abstract notions (e.g. measuring tree frequencies) into narratives by offering bridging metaphors or by showing the familiar in an unfamiliar way (e.g. bells in relation to trees). McCloskey’s projects invite co-inquirers to engage in devising new collective imaginaries as a tactic through which to counter those that dominate, specifically of capitalism and carbon. What unifies these diverse practices is how they utilise innovative site-specific encounters to facilitate reflections amongst diverse publics; providing alternative ways to socially engage with environmental issues, with a view to shifting behaviour.
Locke borrows techniques from engineers, arboriculturists, computer and climate scientists in a series of projects under the title of *Significant Trees [3.1]. Data is gathered, reinvented and new experiences are offered to audiences through interactive sculptures, performances, workshops and sound works. For example, The Frequency of Trees [3.1] , part of the Yorkshire Sculpture Park (YSP) Open Air collection, is an interactive sculpture that translates abstract sound and frequencies into engaging encounters that aim to shift the way humans think about how their bodies interact with the (nonhuman) environment. Furthermore *, The Tree Charter Bell [3.1] is used in tree planting ceremonies in connection with The Woodland Trust.
Locke’s Performing Data [3.2] projects, involve live and interactive sculptures which act as sensory encounters, amplifying participants’ awareness of the physical self and enabling a state of greater connectedness to ‘nature’ and the human body. Locke’s collaborative projects with Dr Rachel Jacobs *Performing the Future [3.2] , were featured as part of a climate change and art symposium at Nottingham Contemporary and continue as part of a developing AHRC funding application.
McCloskey devises co-inquiries with artists, scientists, activists, and local people using innovative participatory methods to explore complex global issues (e.g. wetland loss, resource extraction). Myths for a Wetlands Imaginary [3.3] (co-lead Dr Sam Vardy) includes a residency at Walthamstow Wetlands Centre, London and developed as a co-inquiry with scientists (e.g. Dr Ian Crump, Thames Water), local residents (Walthamstow), indigenous artist (e.g. Rod Garlett, Nyoongar People, Australia-based) and UK-based artists (e.g. Season Butler, Gary Stewart). For this research, McCloskey and Vardy produced a site-specific participatory performance, a digital mapping workshop, a story-telling workshop, a film, and a multi-media installation.
Geopower [3.4] (co-lead Dr Sam Vardy) considers the complexities of extraction in the ecologically diverse and newly politicised territories of the former Orgreave Colliery, South Yorkshire as well as anti-fracking protest camps around Sheffield’s old mining communities. Involving field research working with communities and activists (e.g. Orgreave Truth and Justice Campaign (OTJC), Women Against Pit Closures, anti-fracking), the work produced a performative walk event (scripted to include anti-colonial and indigenous knowledges of global extraction practices) around post-extraction landscapes and an event involving collective conversation with local activists.
3. References to the research
3.1 Locke, C. (between 2014 and 2020) Significant Trees, international body of work output: double weighted.
The Frequency of Trees, YSP, public interactive sculpture.
The Frequency of Trees (2020) published by YSP. Significant Trees BEAF Festival Bournemouth, Dorset, public art interventions/sculptures/ international research.
The Tree Charter Bell projects, Nottingham City Council.
3.2 Locke, C. (between 2015 and 2020) Performing Data, international body of work output: double weighted.
The Hastings Sound Fountain and Heart Sensing Sound Fountain, FACT, Liverpool, live/digital/interactive/sound sculpture.
Terre Ice Chandelier, Primary, Nottingham, video art.
Ice Holes, Primary, Nottingham, sound installation.
3.3 McCloskey, P. (2019) Myths for a Wetlands Imaginary, body of work output:
Five-month residency at Walthamstow Wetlands Centre which included a site-responsive performance, digital films, soundscape, digital mapping, storytelling and gallery exhibition commissioned by Arts Catalyst.
3.4 McCloskey, P. (2019) Geopower (& Spatial Self Organisation Against Injustice in Sheffield) commissioned by Arts Catalyst, performance walk, curated event and participatory workshop around post-extraction landscape of Orgreave/Treeton.
McCloskey, P. (2020) Geopower, video presentation as part of an online event ‘Music, Art and Activism’, organised by OTJC.
Details of funding awarded
YSP: GBP3,000, 2014, Caroline Locke ( The Frequency of Trees).
University of Derby: GBP2,000, 2014, Caroline Locke ( The Frequency of Trees).
Frocester Engineering: GBP1,000 (in-kind), 2014/15, Caroline Locke ( The Frequency of Trees).
Arts Council of England: GBP5,000, 2015, Caroline Locke ( Performing Data).
Mixed Reality Laboratory, The University Nottingham: GBP5,000, 2015, Caroline Locke ( Performing Data).
Royal Academy of Fine Arts Antwerp, Belgium: GBP500 (in-kind), 2016, Caroline Locke ( Performing Data).
Arts Council of England: GBP10,000, 2018, Caroline Locke ( Performing Data).
Frocester Engineering: GBP1,000 (in-kind), 2018/2019, Caroline Locke ( Performing Data).
The Norwegian Polar Institute: GBP600 (in-kind), 2020, Caroline Locke ( Performing Data).
Queensland University of Technology, Australia: GBP950 (in-kind), 2019, Caroline Locke ( Significant Trees).
John Taylor Bells: GBP1,000 (in-kind), 2020, Caroline Locke ( The Tree Charter Bell).
The Woodland Trust: GBP200 (in-kind), 2020, Caroline Locke ( Tree Charter Bell).
The Woodland Trust: GBP400, 2020, Caroline Locke ( Tree Cryer/Tree Charter Bell).
Nottingham City Council: GBP1,000 (in-kind), 2020, Caroline Locke ( Tree Cryer/Tree Charter Bell).
Primary Studios: GBP200 (in-kind), 2020, Caroline Locke ( Tree Cryer/Tree Charter Bell).
Art Fund: GBP5,000, (GBP1,500 in-kind), 2016, Paula McCloskey ( Myths for a Wetlands Imaginary).
Art Catalyst: GBP1,000 (in-kind), 2016, Paula McCloskey ( Myths for a Wetlands Imaginary).
Arts Catalyst: GBP300, 2017, Paula McCloskey ( Geopower).
Arts Catalyst: GBP800 (in-kind), 2017, Paula McCloskey ( Geopower).
Please Note: in-kind support is included as typical for this UoA, and as a demonstration of the recognition of the esteem held for both contributors work by collaborating partner organisations.
4. Details of the impact
Locke’s research makes significant contributions to the international discourse of art and science. She has developed research with The Scott Polar Institute, The Norwegian Polar Institute and The Mixed Reality Laboratory, by using climate data to control various mechanisms within sound sculptures. Her practice-based research has informed the iterative development of software tools to capture data from a variety of sensors, particularly physiological and environmental, and its storage, manipulation and representation [5.7]. These interactive sculptures assist in making the science accessible to the general public allowing for closer connection with and greater understanding of the environment.
Figure 1. Caroline Locke, Recording the Sound of Melting Ice in an Arctic Lake. From the Performing Data project.
Significant Trees includes research which achieves substantial public engagement. The Frequency of Trees is part of the YSP’s ‘Open Air’ collection, which receives an expansive visitor footfall (700,000 visitors during 2015 and 2016). Public audiences engage with the research directly when walking through YSP. Spectators can witness, and may discuss, how sound moves and how the body responds. The artwork generates learning within various educational programmes at YSP (e.g., The Sound Based Walk, Talk, Make Tour – [5.4]). Locke makes school visits, discussing the work and its translation of nature through sound in connection with the Year 3 National Curriculum. A Head Teacher observed that Governors in her school had noted the success and educational importance of Locke’s work: “Caroline directly contributed to the evidence-based research that children need to experience a multi-sensory curriculum” [5.3]. The Head Teacher also reported that The Frequency of Trees changed the children’s understanding of sound and engaged them with environmental issues [5.3]. Another of Locke’s projects, the Tree Charter Bell is the focus of outdoor ceremonies that increase awareness of tree planting activities in Nottinghamshire. The ceremonial ringing of the Tree Charter Bell, forged specifically for these events, attracts the attention of passers-by, who, together with attendees, then discuss issues about climate change in site-specific public spaces [5.2].
Figure 2. Paula McCloskey engaging with the public during Myths for a Wetlands Imaginary.
McCloskey’s Myths for a Wetlands Imaginary was developed for Waltham Forest Borough Council's Art Assembly event to explore the notion of a ‘wetlands imaginary’ as a local and global decolonising agenda through different modes of artistic research. The project explores innovative ways of socially engaging the public during a residency and public gallery event. New dialogues and complex ideas about interrelations between climate, decolonisation, art and science were generated and engaged with by academics, artists and a diverse range of people in the local community. For example, the installation on 23 November 2019 attracted between 500 and 700 people [5.10]. Audience comments included, “…it made me think about wetlands from a new perspective”; whilst another participant observed: “It made me realise how connected we are on a global scale and how we all face similar environmental challenges” [5.10].
Thames Water also suggested that Myths for a Wetlands Imaginary further strengthened their core company messages (using water wisely, valuing nature as natural capital and wastewater management for future population growth) [5.9]. The research contributes to and accelerates the pace of an increasing awareness of the need for change. The project offered new ways of thinking, knowledge and understanding to assist the company with preparing to adapt for the future.
Locke makes significant contributions to socially-engaged practice in art. The research enables interactive public engagement with new communities and audiences. Activities include, not only the active dissemination of research through art practice, but also opportunities for knowledge exchange and encounters, in which communities and audiences contribute their own local understanding. Behavioural impact is direct within the environment and a deeper investment in the environment is supported and encouraged through the work [5.2].
In an interview with Notts TV (300,000 weekly viewers) and as part of a live webinar [5.5] with the Arboricultural Association (over 500 views in 29 different countries), Locke discusses Nottingham City Council’s agreement to sign a pledge to The Woodland Trust’s Tree Charter, resulting in changes to the council’s approach to tree management [5.1]. She opened up discussions with Councillors, offering positive and constructive support for a re-wilding bid by Nottinghamshire Wildlife Trust to transform the former Broadmarsh shopping centre into a public green space.
Thames Water expressed its gratitude to McCloskey [5.9] for her work Myths for a Wetlands Imaginary, which highlighted the value and benefits of their Walthamstow Wetlands site to the local community. The project contributes to educating collaborators, locals and participants about the value of wetland spaces beyond physical needs, developing greater understanding of the species which share the wetlands as a home through direct involvement in the site. Behavioural changes within the company/community are evolving as a result of this project, as it contributes to global and local climate debates.
Geopower was the opening event for Recentring Attention, Arts Catalyst’s new programme that informs the first phase of its relocation to Sheffield. ‘Music, Art and Activism’, an event organised by OTJC 2020 included a talk on ‘Geopower’ (over 3,200 views). Arts Catalyst praise the way McCloskey brings together diverse communities by making conversations accessible despite their complex and nuanced nature stating they have learnt from “her methodologies and from the flexibility that characterises them” [5.8].
5. Sources to corroborate the impact
5.1 Testimonial from Nottingham City Council Tree Officer on working with Locke as part of the The Tree Charter Bell project in November 2020 (date of testimonial: 4 February 2021).
5.2 Group of testimonials in relation to the impact of the Tree Charter Bell project run in November 2020:
*- * Member of the Public (date of testimonial: 1 February 2021).
- The Woodland Trust (date of testimonial: 2 January 2021).
5.3 Testimonial from the Head Teacher at Haydn Primary School, Nottingham on students engaging with Locke and The Frequency of Trees in 2018 and 2019 (date of testimonial: 11 May 2020).
5.4 Testimonial from a member of the Artist Educators Team at YSP on The Frequency of Trees (date of testimonial: 22 May 2020).
5.5 Testimonial from the Technical Director at the Arboricultural Association on Locke’s contribution to the Building a Mass Movement of Trees and People webinar on 28 October 2020 (date of testimonial: 5 February 2021).
5.6 Testimonial from collaborating artist on The Frequency of Trees (date of testimonial: 31 March 2020).
5.7 Testimonial from Assistant Professor, School of Computer Science, The University of Nottingham on the Performing Data project (date of testimonial: 1 May 2018).
5.8 Testimonial from the Curator at ArtsCatalyst on the 2019 projects Geopower and Myths for a Wetlands Imaginary (date of testimonial: July 2020).
5.9 Testimonial from the Biodiversity Field Officer at Thames Water on the 2019 project Myths for a Wetlands Imaginary (date of testimonial: 17 June 2020).
5.10 Data from ArtsCatalyst providing visitor numbers and audience feedback on the installation, workshop and performance comprising Myths for a Wetlands Imaginary in November 2019.
- Submitting institution
- University of Derby
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Summary impact type
- Cultural
- Is this case study continued from a case study submitted in 2014?
- No
1. Summary of the impact
Through the lens of the FORMAT International Photography Festival (delivered in partnership with the University and local partners), photography research and high-level creative practice is shared with an international academic, practitioner and public audience, resulting in civic and public engagement impacts, and impact on the professional practice of photography. The dissemination and engagement approaches contribute to public understanding of photographic practice and the themes explored. The Festival also makes significant economic and cultural impact on the city and confirms Derby as a major centre for photography in the UK with an international reach.
2. Underpinning research
Over more than five decades, the University of Derby has developed its reputation as a centre for photographic academic research, professional practice and education. Underpinning research from the School of Arts explores the contemporary landscape of photography, lens-media, film and art installations; evidenced through the media of exhibition, publishing, public debate, conference and commissioning of new work [see 3.5].
The FORMAT photography festival brings this research to an international academic, practitioner and public audience. Each edition of the Festival is curated and programmed biennially around a contemporary theme to interrogate the photographic medium and its practice. This has built a body of research around different themes over time, and the research and practice pedigree of the team is used to drive engagement, developing impact year-on-year. Cumulatively this has resulted in civic engagement impacts, impact on public engagement and understanding, and impact on the professional practice of photography. In addition, the research informs an academic conference as a key part of the Festival. Organised through the University’s Digital and Material Artistic Research Centre (D-MARC), it advances the Festival aims of pioneering and pre-empting themes in contemporary photography and disseminates research from a range of contributors and speakers - academics, writers, curators and practitioners.
The Festival is multi-stranded, and includes a curated selection of newly commissioned, retrospective and archival work (Focus); a juried exhibition from an international open call (Exposure); an online participation exhibition curated and remixed in real time over the duration of the Festival (Mob Format); exhibitions and events organised by agencies and photo-collectives; a photobook market and portfolio reviews; and a programme of invited speakers, workshops and panel discussions.
In 2015, the theme ‘Evidence’ explored the photograph in relation to documentary, with Harris as conference chair and speaker at the associated academic conference [3.1]. The 2017 theme of ‘Habitat’ explored ecological impact and legacies and featured the work of Rushton as part of the open call public exhibition [3.2, 3.4]. Davies, Harris, and Marmalade were conference chairs and conveners of the academic conference associated with the 2017 edition. The focus of the impact narrative is on the most recent Festival, which embodies the cumulative impacts of the work to date.
The latest edition of the Festival took place in March and April 2019, under the theme of ‘Forever/Now’, which explored our attachment to the notion of the contemporary through a visual interrogation of both our collective sense of histories and potential futures. University research supported critical reflection on this theme, as seen in the work of Harris, Marmalade and Rushton, as part of the international exhibition and the academic conference (organised by Harris and Marmalade). The proceedings from the conference were published in an edited collection, ‘Mythologies, Identities and Territories of Photography: Forever//Now’ [3.6] which also included contributions from Bosward and Davies as well as over 15 previously unpublished contributions from other external researchers and presenters. In 2019, an additional exhibition was linked to the Festival, hosted by D-MARC, including the work of key researchers Harris and Rushton, with additional research input from School of Arts researcher Dr Rhiannon Jones. Further research and critical writing accompanies the creative engagement within the Festival as seen in catalogue essays by Davies [3.1, 3.3] and Harris [3.3].
In all years, research-engaged staff have contributed to the international festival through membership of the Steering Group (Davies, Harris, Marmalade), juries for selection of portfolios (Davies) and representation on the Board of Directors (Davies), demonstrating the significant public engagement at partner level.
Between the main biennial editions of the Festival, the School of Arts also delivers a programme of ‘off-year’ FORMAT events, exhibitions and symposia in collaboration with partners QUAD. In 2017 this showcased a conference exploring the relationship between photography and painting in the digital age. Organised by Robinson, it led to the publication of PaintingDigitalPhotography [3.4] . A follow-up symposium PhotographyDigitalPainting was held in 2019 leading to the publication of the book of the same name in the following year (eds: Robinson, 2020).
3. References to the research
3.1 Evidence. 2016. QUAD Publishing.
Published output, 185 page catalogue: ISBN: 978-0-9954611-3-0. Exhibition catalogue and essays that embody the underpinning research through documentation and critical evaluation of the curation process. Images selected for exhibition and catalogue were peer evaluated by international jury. Received Arts Council England funding as part of the festival.
3.2 Habitat. 2017. QUAD Publishing.
Published output, 196 page catalogue: ISBN: 978-0-9954611-4-7. For statement of evidence of quality of the underpinning research see 3.1.
3.3 Forever/Now. 2019. QUAD Publishing.
Published output, 186 page catalogue: ISBN: 978-0-9954611-7-8. For statement of evidence of quality of the underpinning research see 3.1. Available at: https://formatfestival.com/archive/ (Accessed: 07 July 2020).
3.4 Rushton, S. (2017) The Archaea, body of work:
The Archaea, FORMAT 2017 exhibition: Habitat, 24 March-23 April 2017.
Installation of photographic and sculptural tableau as part of internationally peer reviewed ‘Open Call/Exposure’ programme strand. For a photographic still see page 61 of the 2017 Habitat FORMAT exhibition catalogue.
Rushton, S. (2018) 'The Archaea: Painting Digital Photography,' in Robinson, C. (ed.) PaintingDigitalPhotography: synthesis and difference in the age of media equivalence, Newcastle: Cambridge Scholars Press, pp.19-41. Peer-reviewed essay as part of edited publication.
3.5 Davies, H. (2013) ‘Making Connections & Portfolio Section’, in Campbell, N.,
Cramerotti, A (eds.) PhotoCinema – Working at the creative edges of photography and
- film*. Intellect. ISBN 978-1-84150-562-6.
Book based on earlier conference proceedings and festival. Peer reviewed edited collection of essays, interviews and curated portfolio of photographic works.
3.6 Harris, P., Marmalade, G. (eds.) (2020) Mythologies, Identities and Territories of Photography: Forever//Now. Newcastle: Cambridge Scholars Press. ISBN 1-5275-6339-1.
Book based on 2019 conference proceedings. Author contributors: Bosward, Davies, Harris, Marmalade, et al). Peer reviewed edited collection of papers. The papers were also selected for the conference through peer review.
[text removed for publication]
4. Details of the impact
The FORMAT International Festival of Photography is a collaboration between the University of Derby and QUAD Media Arts Centre, established in 2004 as a biennial event to disseminate research and practice in photography. Over a fifteen-year period it has become the largest and longest established international photography festival in the UK and the only UK member of ‘The Festival of Light’, a collaboration of over twenty photography festivals from around the world [5.2]. [text removed for publication]
From 2014 onwards, the impacts outlined below have developed through the different thematic focus of each festival, with the 2019 festival embodying the cumulative and significant impacts (and associated evaluation) around civic engagement, public engagement and understanding and professional practice.
Civic engagement impacts
FORMAT19 took place between 5 March and 14 April 2019 at 19 venues across the city, ranging from formal cultural and educational institutions (QUAD, Derby Museum & Art Gallery and the University of Derby) through to converted temporary and pop-up spaces (The Tramshead and Eagle Market). As in previous years, exhibitions and events were also hosted in other parts of the region including Nottingham (New Art Exchange), Crich (Tramway Museum) and venues in Leicester and Burton-on-Trent, bringing internationally renowned work to new audiences and venues [5.1].
The Festival has generated significant net economic benefit to the city of Derby (FORMAT19: GBP1,963,000) [5.1], and has received funding and backing from key cultural sector partners (FORMAT19 had a budget of approximately GBP280,000). [text removed for publication]. This is a testament to the civically engaged partnership of which FORMAT is part. Additional sponsorship and other in-kind support were forthcoming from the Royal Photographic Society, Fujifilm, Rolls-Royce and Genesis Imaging, indicating commitment and engagement from the commercial and professional sectors.
Impact on public engagement and understanding
FORMAT19 attracted 23,595 visitors (a 58% increase from 2013). 70% were new attendees to the festival, 49% were visitors from beyond the East Midlands and 5% were visitors from beyond the UK. 95% of audiences thought that the Festival was either good or excellent and 80% said they were likely to revisit Derby’s cultural offer as a result of attending FORMAT [5.1, 5.10] .
The dynamic social media strategy of the Festival has become an increasingly important part of how audiences and practitioners receive and engage with the programme – broadening its reach further still. The physical programme elements have been augmented by the online mass participation project MobFORMAT. This was curated, streamed and remixed in real time and shared through social media platforms (At FORMAT19: 14,500 followers on Instagram, 24,000 followers on Twitter and 22,500 followers on Facebook) [5.1]. This has been further extended by other participatory crossover projects, utilising new technologies in inventive and engaging ways. Artist Tom Stayte’s project #selfie and the mobile phone application Detect (both 2015) used open-source facial recognition software and game technology to address questions around surveillance and augmenting reality with online fiction [5.8].
The international reach and prestige of the festival is evidenced through the British Journal of Photography special issue focused on the Festival [5.3]. Further coverage of FORMAT19 appeared across a broad range of print and web-based media from local to international, including the Derby Evening Telegraph, The Guardian (UK) , The Observer (UK) , BBC Online (UK), Stern (Germany), NBC News Online (US) , L’Oeil Photographie (France) , Fotografia Magazine (Austria/ Germany) , Photo International (China) . FORMAT19 attracted over 70 pieces of media coverage. The print and web coverage achieved had an estimated Advertising Value Equivalent (AVE) of GBP1,500,000 (based on print advertising rates) [5.6].
This international reach is also evidenced through artist engagement - FORMAT19 presented more than 45 exhibitions, featuring over 3000 works by 300 artists from over 70 countries. Commissions from the 2015 Portfolio Review went on to tour Europe including Hamburg (June 2015), Riga (May 2016), and Lodz (June 2016). The 2017 Festival included the UNESCO funded exhibition ‘Flaneur- New Urban Narratives’, produced in partnership with 20 international festivals from 11 different countries. This explored artistic interventions in public spaces, using specifically commissioned contemporary photography. A major partnership with the Lishui International Photography Festival featured 6 exhibitions from FORMAT19 in China in November 2019 [5.4]. FORMAT19’s international jury open call selected 54 portfolios from 657 submissions from over 50 countries, embracing diverse voices within a spirit of openness, discovery and debate.
Advances in professional practice
The biennial FORMAT events promote the creative practice of photographers to a national and international arts audience through the public engagement vehicle of the festival [5.5]. The FORMAT conference drives additional impact on the practice and research of photography, delivered alongside the Festival and coordinated by the University. The 2019 conference included presentations from 20 speakers and was attended by over 120 participants from across the UK and 10 countries overseas. This aspect of the work contributes to the body of knowledge around photography research and practice through presentation, debate and conference related publications, and also shapes future festival delivery and themes.
The portfolio review strand of FORMAT has had a significant impact on professional practice and is the largest event of its kind in the UK which includes 115 artists and 58 professionals from over 48 countries. It provides vital opportunities for continuing professional development and networking and is supported by 10 industry awards and Guardian mentorship [5.4, 5.10].
The PARALLEL Platform, launched at FORMAT19, showcased emerging curators and introduced new and relevant photographic work in a European art context. Featuring 28 artists and 7 curators from a world-wide open call, it will result in 7 exhibitions across Europe [3.3]. Additionally, FORMAT has promoted the work of individual artists over a sustained period of time, crossing multiple editions of the Festival (Davies, Roberts, Welding, et al) and enabling the long-term development of projects in different forms. This particular emphasis on supporting professional and career development has enabled photographic practitioners such as David Moore to re-assess earlier bodies of work and create new meanings and interpretations through ‘archive intervention’, making further contributions to the field [5.9].
5. Sources to corroborate the impact
Civic engagement impacts
5.1 FORMAT 2019 Evaluation and Economic Footprint - S4W Ltd.
Impact on public engagement and understanding
5.2 FORMAT festival profile on The Festival of Light website, including reference to 2018 ‘off year’ activities. Available at: https://festivaloflight.net/derby-uk-festival.php#.YD5qWWj7Q2w (Accessed: 2 March 2021).
5.3 British Journal of Photography. Special Issue focused on the Festival, March 2019 [online]. Available at: https://www.thebjpshop.com/product/march-2019/ (Accessed: 7 July 2020) .
5.4 FORMAT International Photography Festival report 2019 – QUAD.
5.5 ‘The world’s best photo festivals’, Capture Mag, 10 October 2016 [online]. Available at: www.capturemag.com.au/advice/the-world-s-best-photo-festivals (Accessed: 29 April 2020).
5.6 FORMAT 2019 PR Evaluation – Troika.
Impact on professional practice
5.7 Arts Council England - Artistic & Quality Assessment Report from independent assessor – April 2017 & 2019.
5.8 Alasdair Foster interviewing Louise Fedotov Clements (Director and co-founder of FORMAT) in ‘FORMAT: photography in an age of change’, Talking Pictures: Interviews with Photographers from Around the World, 8 April 2020 [online]. Available at: https://talking-pictures.net.au/2020/04/08/format-photography-in-an-age-of-change/ (Accessed: 7 July 2020).
5.9 Testimonial from independent photographer (date of testimonial: 27 April 2020).
5.10 Testimonial from Arts Manager, Derby City Council (date of testimonial: 12 August 2020).