Production.
Production is a multicomponent output comprising: the exhibition Manifest:10,000 Hours, and the project Factory: The Seen and the Unseen. Part of Twomey’s long-term research into collaborative practice, shared authorship and ceramics in the expanded field, the output examines the intersection of craft and contemporary art. Extending from historic sites of production to social and participatory methods, Twomey’s research engages new audiences at museums and cultural sites. Research was developed with commissions from York Art Gallery (2015), and as the lead artist for the Tate Exchange programme at Tate Modern (2017-2018). Research was funded by Arts Council England, Tate Modern and Quintin Hogg Trust. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qq871
- Type
- T - Other
- DOI
-
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- Location
- Manifest: 10,000 Hours, York Art Gallery, August 1, 2015 – June 4, 2017; Factory: The Seen and the Unseen, Tate Modern, September 28 – October 8, 2017.
- Brief description of type
- Other: Multicomponent
- Open access status
- -
- Month
- August
- Year
- 2015
- URL
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- Supplementary information
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- Request cross-referral to
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- 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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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Manifest:10,000 Hours comprised 10,000 ceramic slipcast bowls produced by members of the public in workshops in York and London – the bowls representing the 10,000 hours associated with the time required to train a skilled ceramic craftsperson. They created a link between existing and new communities of practice. Twomey further developed this approach as lead artist at Tate Exchange, working with the theme of Production. Transforming Tate Exchange’s space into Factory, a 30-metre production bench, equipped with eight tonnes of clay, was installed. On production lines skilled workers used slipcasting to create ceramic cups and bowls, and flower-makers shared skills with public participants. Visitors joined these lines and a community of production took place, learning new skills and participating in social forms of practice. After Factory closed at the end of week one, conversations were recorded and played back in week two of the project. Interviews with some of the 4,800 visitors to Tate Exchange, and at workshops in York Gallery, led to new insights into participatory methods at scale, engaging with the history and future of ceramics in the context of collections and the contemporary art museum.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
