Dr Lesley Stevenson
Studio 7: Souvenir
This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past. It considers the role of memory and how it is embodied in cultural artefacts, such as postcards, photographs, war memorials, landscapes, gardens, tourist trophies, Victorian hair jewellery, mementos, family heirlooms and eBay bargains. It seeks to address the gaps between those private, small objects – the ephemera of everyday life which are often associated with the intimate spaces of the body – and the grander projects of the public body, often artefacts of enduring commemoration. Souvenirs are both traces of highly personal experiences and part of a growing nostalgia industry that is fed by the acts and artefacts of collective remembering.
First seven weeks
- Week one: Introduction to the studio. What is research?
- Week two: Exhibition of a relationship. Identifying a topic
- Week three: This week we are going to consider the relationship between the tourist industry and the souvenir. Trip to Southend or Brighton: send a postcard home. Take a look at Postcard from the Past on Twitter
- Week four: This week students will present their initial ideas to the rest of the group, either as a presentation or as a poster. Research skills
- Week five: London’s war memorials. This is a walking tour of London’s war memorials. In Whitehall, we will also have a look at the souvenir shops
- Week six: Digital souvenirs – this week we will concentrate on websites such as eBay, Depop, Instagram. Referencing / plagiarism
- Week seven: This week everyone will present their ideas to the rest of the studio
Films to catch if possible
Terence Davies (dir.) Of time and the city, 2008.
Grant Gee (dir.) Innocence of memories, 2015.
Suggestions for reading
- Baerenholdt, J.O., Framke, W., Haldrup, M., Larsen, J. and Urry, J. (2004) Performing tourist places, Farnham: Ashgate.
- Batchen, G. (2004) "Ere the substance fade: photography and hair jewellery" in Edwards, E. & Hart, J. Photographs, objects, histories: on the materiality of images, London: Routledge.
- Baudrillard, J. (1996) The System of objects, London: Verso.
- Kwint, M., Breward, C. and Aynsley, J. (eds) (1999) Material memories: design and evocation, Oxford: Berg.
- Nora, P. (1989) "Between memory and history: Les Lieux de mémoire", Representations, 26: 7-25.
- Shapton, L. (2009) Important artifacts and personal property from the collection of Leonore Doolan and Harold Morris, including books, street fashion and jewellery, London: Bloomsbury.
- Stewart, S. (1993) On longing, Durham and London: Duke University Press.
Biography of Dr Lesley Stevenson
Lesley has taught critical and contextual studies in a number of universities in the UK. In particular, she has tutored students to become successful independent learners in the completion of dissertations and theses at BA, MA and PhD levels. In 2015–16 she led the critical theory and design studio and in 2016–17, fashioning culture: clothing and the shaping of identity. She has an MA in Art History and Philosophy from Glasgow University and a PhD from the Courtauld Institute of Art. She has written several books, articles and exhibition catalogues on visual and material cultures, photography and cultures of consumption. Currently Lesley is working on a book on still life and death.
Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.
In Studio 2 we will explore environmental topics through the lens of art, architecture, spatial practice, media and design disciplines.
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.
Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.
Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.
Nico de Oliveira
Studio 6: This dissertation studio is designed to help students who are interested in curating as a broad subject, as well as those who wish to contextualise their own practice within the scope of displaying art.
Dr Lesley Stevenson
Studio 7: This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past.
Studio 8 will look at one element of that system – the picture postcard – from a number of different perspectives.
Studio 9: Together we will explore the space of criticism; acknowledging our point of encounter with objects, places, sites and processes and the relationship between text, writer and reader.
As creative practitioners we digest and produce images every day – as citizens of the digital age we consume between hundreds and thousands of images each day. This dissertation studio will slim down your daily diet to one image.
Speculative descriptions of the future reveal a magnified — or distorted — reflection of the fears and desires of the present.
Much is happening in the world today that foregrounds questions pertinent to our identities in a globalised world.
How does the relationship of memory to fantasy affect history? What are the links between desire, sexuality and trauma? How are these relationships played out or negotiated in visual and written practice? These questions will form the beginning of our enquiries into artworks, films and literature.
We will look at how the idea of nature has been constructed over time and place, and study its impact on design practice in an age marked by the sustainability imperative.
Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.
Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
This workshop will address some perennial problems of writing in the field of visual culture.
Studio 19: This studio will explore a reading of objects focusing on the interplay between materials, the objects they form and their context.
This Dissertation Studio examines instances of the liminal as they occur in critical theory and culture, and is open to any topic and students from all disciplines.
This year, Studio 21 will stage an unusual experiment. It will move, unpack, catalogue, and perform readings from one private library; and make this library, without exception, the single resource for all the research and writing in the studio.
Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.