『Gloves Off: Stories from Cultural Collections & Galleries at the University of Leeds』のカバーアート

Gloves Off: Stories from Cultural Collections & Galleries at the University of Leeds

Gloves Off: Stories from Cultural Collections & Galleries at the University of Leeds

著者： University of Leeds Cultural Collections & Galleries
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Documentaries, panel discussions, interviews with artists and writers, and more from Cultural Collections & Galleries at the University of Leeds.

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  • Contemporary Conversations: AI and the Creative Industries – Brace or Embrace?

    Contemporary Conversations: AI and the Creative Industries – Brace or Embrace?
    2026/07/16
    “I think there’s never been a more exciting time to be a human being…” In this special instalment of Contemporary Conversations, produced in partnership with the Cultural Institute, we explore the rapid rise of artificial intelligence (AI) and the urgent questions the technology is raising about skills, ethics, the future of work and what it means to be creative. Writer and broadcaster Nick Ahad chairs a panel of AI specialists: Omar Karim, AI Creative Director and filmmaker, Digital Strategist Katie Moffat, and Dr Dibyadyuti Roy, Associate Professor in Cultural Studies, Media Studies and Digital Humanities in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, discuss the opportunities and the threats that AI presents for the creative industries. They underscore the importance of demystifying the technology behind large language models – and recognising its limitations. They ask whether it’s possible to use AI ethically, and how the disproportionately negative effects of its expansion on the Global South might be addressed. Who controls the pace of its evolution? What can we expect to see in the coming months and years? How can we keep human judgement and imagination at the centre of creative practice? Produced by University of Leeds Galleries & Cultural Collections in partnership with the Cultural Institute. Recorded in HELIX at the University of Leeds, 18 March 2026.
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    1 時間 3 分
  • Curating Class 5: Them & [uz]

    Curating Class 5: Them & [uz]
    2026/07/08
    How does the art world invite, or restrict, the expression of working-class identity? What are the advantages and disadvantages of being a “fugitive” from the mainstream? How might you make art outside “the system”? The final instalment of our Curating Class series is a live recording of a panel discussion featuring six of the artists who exhibited in ‘[uz], [uz], [uz]: Artists from Working-Class Backgrounds’ in The Stanley & Audrey Burton Gallery. Curator Dr Laura Claveria chairs a panel comprising Simeon Barclay, Kedisha Coakley, Will Hughes, Sam Metz, Beth Smith and Bethany Stead. They tell us how they came to art and how class has shaped and informed their lives and work; how it’s dealt with or subverted in their art - if at all. They speak from experience about how class intersects with race, culture, queerness and neurodivergence. Co-produced by University of Leeds Cultural Collections & Galleries and the Working-Class British Art Network. Recorded by Matthew Harrup at stage@leeds, University of Leeds, 19 March 2026. Image: Beth Smith, Comfort Food (1990), Pastel on paper © Beth Smith. Cultural Collections and Galleries, University of Leeds Libraries, Art Collection. Biographies Born in Huddersfield, Simeon Barclay spent his formative years during the 90s employed as a machine operative whilst being devoted to the transformative potential of clubs, music, fashion and youth culture movements across the UK. Channelling those alternative modes of expression, he would later attend night school before taking up a place at art college, graduating in 2014 with an MFA from Goldsmiths College. Barclay is the recent recipient of the Kenneth Armitage Sculpture Fellowship; also received the Roberts Institute of Art, Practising Performance Commission; the Ares Art Award, and was included in the Hayward Gallery touring exhibition British Art Show 9. Shortly after this recording, his nomination for the 2026 Turner Prize was announced. Barclay lives and works in West Yorkshire and London. Kedisha Coakley is a British-Caribbean artist whose practice spans sculpture, printmaking, archival research, and community engagement. Her work challenges inherited interpretations of history, inviting viewers to reconsider social and cultural narratives from alternative perspectives. Rooted in reflections on selfhood, childhood memory, and personal ritual, Coakley’s practice engages cultural history and material memory to reframe African-Caribbean presence within British narratives. She examines the afterlives of colonialism through objects that carry historical and emotional weight, using materially transformative processes such as casting, imprinting, cyanotype, collagraph, and metalwork. Alongside her artistic practice, Coakley works as a Collections Assistant at The Hepworth Wakefield, where she catalogues and archives the Ronald Moody Trust Gift. Will Hughes’ work deals with concepts of aspiration, queerness and glamour. They graduated from a BA in Fine Art from Bath Spa University in 2018 and was awarded the Kenneth Armitage Foundation Graduate Award. Following a year-long studio fellowship at spike island in Bristol, Hughes moved to the North East in 2019 to study an MFA at the BxNU [Box-New] institute. In 2021 Hughes was artist in residence at BB15 in Linz, Austria and in 2024 was artist in residence at Lightpool festival in Blackpool. Career highlights include selection for the YSI Sculpture Network 2022 and in 2023 was a Nominated Recipient of the Henry Moore Foundation. They were selected as Tees Valley Visual Artist of the Year 2025. Born in Wakefield, Bethany Stead is based in Newcastle-upon-Tyne. Through drawing, painting and sculpture, Stead uses figuration and visual language which disrupts our fragile social fabric. Her work is concerned with the sense of discomfort of inhabiting bodies, forming a kind of psychological dissection. She examines themes of health, hierarchy, deviance, worship, garment and the posthuman, filtered through the lens of class and sexuality. Stead graduated from Newcastle University, 2019. She was awarded the Henry Moore Foundation Artist Award, selected for the Girlpower Residency, South-France, and recently had her first international solo exhibition at Cub_ism_ Artspace in Shanghai, China. Sam Metz is an artist working in between East Yorkshire and the East Midlands. They make drawing, animation and sculptural installation in response to neurodivergence and the body, often relating to stimming and ecology. They are interested in questioning sensory modality hierarchies and exploring bodily movement. Their work seeks to answer the question: what might an embodied ethics of encounter that centred neurodivergence look like? Sam was the Aesthetica Emerging Art Prize winner 2025 and a nominated recipient of the Henry Moore Foundation Award 2023. Beth Smith was born in Salford. Her early memories are of so-called slum clearance - wrecking balls, acres of rubble...
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    53 分
  • Curating Class 4: Samantha Manton on ‘Lives Less Ordinary: Working-class Britain Re-seen'

    Curating Class 4: Samantha Manton on ‘Lives Less Ordinary: Working-class Britain Re-seen'
    2026/05/28

    “This wasn’t an exhibition of ‘working-class art’, but an attempt to reframe working-class experience by utilising a gaze from within, bringing together a plurality of working-class voices”.

    Samantha Manton, curator of ‘Lives Less Ordinary: Working-Class Britain Re-seen' at Two Temple Place in 2025 talks about her methodologies and the decisions she made – consciously and unconsciously – in initiating and putting together the exhibition.

    “I had a rolling list of the ways in which I felt working-class artists and subjects have had their nuanced experiences, perspectives and contributions misinterpreted, misrepresented and dismissed completely in the service of sustaining narrow, simplistic and derogatory views of working-class life.

    “In some cases I narrated these oppressions directly, but in others it was simply about actively resisting the oppressive tendencies that artists had been subject to in the past.”

    https://twotempleplace.org/exhibitions/lives-less-ordinary/

    This content has been adapted from an illustrated talk, introduced by curator, researcher and founder of the Working Class British Art Network Beth Hughes, and recorded in front of a live audience at Curating Class: Rethinking Art Exhibitions Methodologies. This day of talks and discussions was hosted by the University of Leeds Cultural Collections & Galleries in spring 2026 to coincide with the 2025-26 exhibition ‘[uz], [uz], [uz]: Artists from Working-Class Backgrounds’ at The Stanley & Audrey Burton Gallery.

    Co-produced by University of Leeds Cultural Collections & Galleries and the Working Class British Art Network.

    Image: A visitor to the exhibition ‘Lives Less Ordinary: Working-Class Britain Re-seen' at Two Temple Place, London. Credit: Richard Eaton.

    Biography

    Samantha Manton is a London-based curator, researcher and cultural producer with over fifteen years of experience across the creative sector. She spent six years as part of the team developing the V&A’s two new east London sites — the V&A East Storehouse and the recently opened V&A East Museum — and curated the latter’s Why We Make collection galleries. As an independent practitioner, she recently curated Lives Less Ordinary: Working-class Britain Re-seen for Two Temple Place, an exhibition which challenged stereotypical and reductive representations of working-class lives in art and ran from January to April 2025. Drawing on her own working-class background, Samantha’s practice centres underrepresented perspectives within museums and cultural institutions. She will shortly be embarking on a 'New Narratives' research fellowship with the Paul Mellon Centre to deepen her research into class and museum collections.

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    28 分
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