Victorians Decoded: Art and Telegraphy - Exhibition and accompanying catalogue
- Submitting institution
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Courtauld Institute of Art
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 03
- Type
- M - Exhibition
- Venue(s)
- Guildhall Art Gallery, City of London
- Open access status
- -
- Month of first exhibition
- September
- Year of first exhibition
- 2016
- URL
-
-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output consists of the exhibition ‘Victorians Decoded: Art and Telegraphy’ (20th September 2016 – 22nd January 2017), and the accompanying open-access online catalogue.
This exhibition, held at The Guildhall Art Gallery, London, was a culminating output of the AHRC-funded research project ‘Scrambled Messages: The Telegraphic Imaginary 1857-1900’ (2013-17) which focused on the discourse surrounding the fallibility of the new cable technology. Professor Caroline Arscott was Principal Investigator on the project, heading an interdisciplinary team involving researchers from The Courtauld, KCL and UCL. Arscott was chief curator for the exhibition and had primary responsibility for editing and completion of the team-generated catalogue. Within the catalogue Arscott is sole author of interpretative essays on a number of key works and of all catalogue entries in the section ‘Transmission’. She co-authored the Foreword with Professor Clare Pettitt (CI on the project).
The research project’s findings about the commonality between scientific problems and artistic preoccupations informed the decision to establish four sections in the exhibition: distance, transmission, coding and resistance. The exhibition communicated arguments about ways of correlating Victorian technological concerns and fine art’s visual systems to the more than 8,000 exhibition visitors and the 14,000 individuals who downloaded the catalogue in the period September 2016 to June 2019.
The first item in the portfolio is a Timeline of the research for the exhibition (Document 1). The Timeline links to other supporting documents in the portfolio, including documents contextualising the exhibition in the scope of the ’Scrambled Messages’ project (Documents 2 and 3).
Victorians Decoded: Art and Telegraphy, edited by Caroline Arscott and Clare Pettitt (London: The Courtauld Institute of Art and King’s College, London, 20016) is included within this portfolio (Document 10). Extensive details of other activities related to ‘Victorians Decoded’ can also be found on the Scrambled Messages website: http://www.scrambledmessages.ac.uk/
- Author contribution statement
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- Non-English
- No
- English abstract
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