Miss Rachel Emily Taylor
The daughter of a porcelain doll-maker, Rachel was born in Sydney, Australia before moving with her family to Konongo, Ghana and then to the North Yorkshire moors in England.
After completing a degree at University of the Arts London (BA Hons) she went on to study at the Royal College of Art (MA), during which she was awarded the Peter Gordon Pickard Award to travel to Rome. Upon obtaining her MA, and working as a professional artist, she began her Fine Art (practice-based) Ph.D. AHRC studentship in 2014 with the Heritage Consortium. The title of her Ph.D. research is Heritage as Process: Constructing the Historical Child’s Voice through Art Practice.
Alongside her current research, Rachel is a Lecturer in Studio Practice at University of the Arts London. Rachel has presented papers at: “Performing the Archive” at NUI Galway; “Method Conference” at Sheffield Hallam University; and “Annual Heritage Consortium Conference” at Huddersfield University.
Rachel has exhibited across the UK: at the Rag Factory in London, the Tetley in Leeds, The Old Joint Stock in Birmingham, Bank Street Arts in Sheffield and the Egg Suite in Manchester, amongst others.
Rachel has undertaken artist residencies in Malta, New York and Belgium. She has been funded by the British Council to be exhibited internationally and was awarded a Grant for the Arts by Arts Council England in 2015 and 2016.
Alongside exhibiting Rachel has fostered a close relationship with Museums. She has facilitated workshops and performed as a live artist at the Wellcome Collection, the British Museum, the Victoria and Albert Museum and the Design Museum. As part of her Ph.D. research, she has undertaken an artist residency at the Museum of Witchcraft.
Rachel Emily Taylor is the current artist in resident at the Foundling Museum in London (supported by the AHRC), with a closing event on Friday 14th October 2016.
www.rachelemilytaylor.co.uk
Read more about Rachel's Ph.D. research here:
https://www.shu.ac.uk/research/specialisms/cultural-communication-and-computing-research-institute/what-we-do/projects/fine-art/research-degree-project-heritage-as-process-constructing-the-historical-childs-voice
Sessions auxquelles Miss Rachel Emily Taylor participe
Mardi 7 Juin, 2016
Sessions auxquelles Miss Rachel Emily Taylor assiste
Vendredi 3 Juin, 2016
Welcome addresses and cocktail, followed by the Concordia Signature Event "The Garden of the Grey Nuns". As the opening ceremony and cocktail take place in the former Grey Nuns' Motherhouse, recycled into campus residence and reading rooms by Concordia University, delegates will also have the possibility to discover the video Three Grey Nuns (3 minutes, by Ron Rudin and Phil Lichti. Three Grey Nuns recount their memories of communal life in the Grey Nun’s Motherhouse. Built...
Working with archival documents and the current-day morphology of the Grey Nuns' site, Dr Cynthia Hammond, Dr Shauna Janssen, in collaboration with Dr Jill Didur, will curate a series of installations and performances that speak directly to the rich heritage of a specific urban landscape: the gardens of the Grey Nuns' Motherhouse, now part of the Concordia University downtown campus. Visitors will have the opportunity to explore the lost working gardens of the Grey Nuns. As with other such...
Samedi 4 Juin, 2016
What if we changed our views on heritage? And if heritage has already changed? While, on the global scene, states maintain their leading role in the mobilization of social and territorial histories, on the local scale, regions, neighbourhoods and parishes have changed. Citizens and communities too: they latch on to heritage to express an unprecedented range of belongings that no law seems to be able to take measures to contain, often to the discontent of...
Industrial heritage in Britain has tended to be romanticised in museum ‘cathedrals’ and ‘theme parks’ (like Beamish), with workers’ lived experience subordinated to the machines, buildings and physical artefacts that dominate these spaces. Here workers’ lives are more often than not celebrated rather than critically reconstructed and interpreted. The politics, class relations and struggle, violence, poverty and murkier side of working life is increasingly being neglected as the past is san...
This session explores artist-history exchanges in the context of heritage sites, venues and spaces, and considers recent curatorial and artistic interventions and performative strategies, such as decolonial methodologies. Drawing on disciplinary art history, this session approaches heritage sites as strategically re-deployed historic structures that function as representational signs – artifactual objects furnished with other objects that cumulatively and, by virtue of their provenance, pr...
Many people are actively using working class heritage as a resource to reflect on the past and the present, and there is a growing tendency for the heritage of working class people to be interpreted and presented to the public in museums and heritage sites—see for example the Worklab network of museums. Working class communities and organizations also play active roles in creating a memory of their own past, and mobilizing this to sustain political action in the present. Drawing on scho...
This festive event will offer delegates a taste of one of the iconic dishes of Montreal, the smoked meat sandwich, imported by Jewish immigration from Eastern Europe in the early 20th century. In particular, the tasting will allow a discovery of the products of the renowned international institution Schwartz's, the Hebrew Delicatessen for which Montrealers and tourists alike are willing to wait in long line-ups. During the tasting, “Chez Schwartz,” a documentary produced by Garry B...
Most of what we experience as heritage emerges into conscious recognition through a complex mixture of political and ideological filters, including nationalism. In these processes, through a variety of devices (museums, scholarly research, consumer reproduction, etc.), dualistic classifications articulate a powerful hierarchy of value and significance. In particular, the tangible-intangible pair, given legitimacy by such international bodies as UNESCO, reproduces a selective ordering of cul...
Dimanche 5 Juin, 2016
We would like to propose a session, building on the one we ran at the 2014 CHS conference in Canberra, on how emotion and affect feature in the fields of heritage and museums studies, memory studies, public history, heritage tourism, studies of the built and urban environment, conservation, archives and any field of study that deals with the emotional impact and use of the past in the present. There is an increasing interest in how emotion is a form of judgement on things that affect ou...
Lundi 6 Juin, 2016
The field of heritage has emerged as a key site of reflection. Influenced by shifts in the academy (e.g., post-colonial, post-structural and feminist theories), heritage scholars are bringing increased attention to the deployment of heritage as both a conceptual category and a contested field of power and discourse. Nevertheless, significant challenges remain in communicating what comprises the theoretical and methodological toolkit of heritage studies. Scholars are still mapping out the nuan...
As recent publications have demonstrated, the role of the expert in heritage conservation is a relevant, indeed imperative topic of discussion. On the one hand, the knowledge required to work in the field has evolved over time in response to changes in the definition of heritage. Once the exclusive domain of architects and historians, the expertise needed today draws on a broader scope of disciplines including urban planning, landscape studies, anthropology, economics and climatology, often m...
Involving communities, visitors or the public is frequently presented as one of the major tasks of museums and heritage sites in current global movements toward new collaborative paradigms (Golding and Modest 2013; Watson and Waterton 2011). Co-production is a highly current issue, and a proposed emancipatory solution to the authorized heritage discourse, which seemingly has reached a critical juncture. Scholarship has echoed calls from communities for more direct involvement in the presentat...
This proposal makes the case that heritage’s capacity for change may be dependent on a paradigm shift in how heritage is interpreted. With this paradigm shift in play, a question is then asked: Can authenticity be used as a design driver to resolve how best to incorporate the four pillars of sustainability in a building’s design? The proposal begins with a discussion about the difference between using heritage reactively and proactively. It then presents a brief introduction to the...
Around the globe the planning of large-scale memorial-museum projects concerned with violent histories are frequently marred by conflict, omission, and competitions of victimhood. This problem also extends to scholarship on genocide and memory. “Moving memory” is a collaborative multi-sited research exhibition about the Armenian and Roma genocides that proposes creative solutions to these museological and scholarly conflicts around commemoration. Our multi-sited event includes two pr...
Creator/performer: Lisa Ndejuru, Concordia University. Soundscape and projections: David Ward, Concordia University. Theatrical Performance with Projected Photos Le petit coin intact is a bilingual (FR/EN) performed monologue with soundscape and projections. The title of this series of short vignettes refers to a core of wholeness and strength so often contained in even the most extreme narratives...
Mardi 7 Juin, 2016
We would like to propose a session, building on the one we ran at the 2014 CHS conference in Canberra, on how emotion and affect feature in the fields of heritage and museums studies, memory studies, public history, heritage tourism, studies of the built and urban environment, conservation, archives and any field of study that deals with the emotional impact and use of the past in the present. There is an increasing interest in how emotion is a form of judgement on things that affect ou...
Involving communities, visitors or the public is frequently presented as one of the major tasks of museums and heritage sites in current global movements toward new collaborative paradigms (Golding and Modest 2013; Watson and Waterton 2011). Co-production is a highly current issue, and a proposed emancipatory solution to the authorized heritage discourse, which seemingly has reached a critical juncture. Scholarship has echoed calls from communities for more direct involvement in the presentat...
Photography was recognized as an instrument of heritage preservation from the moment of its inception in the early nineteenth century, when projects such as Les Excursions Daguerriennes (1841-1843), a set of Romantic engravings of monuments based on photographic documents, established the links between sight and science, memory and history, hortatory reification and ‘ruin lust’ (Brian Dillon, 2014). This session was conceived in the certain knowledge that almost every speaker at t...
What is involved in presenting the past as a physical object in public space? There is a significant literature by scholars in various disciplines that deals with the array of decisions that need to be made regarding which stories should be told, and how they should be represented. Nevertheless, once constructed, there is a tendency to see these objects as natural, as if they had to be built and could not have been constructed any other way. The Lost Stories project is designed to involve ...
The Canadian Museum for Human Rights opened to the public in September 2014. Yet this "first museum solely dedicated to the evolution, celebration and future of human rights," met serious criticism from a variety of stakeholders before it even opened its doors. These stakeholders included Indigenous and Ukrainian communities, anti-poverty activists, feminists, gay rights activists, and disability advocates who questioned some of the museum's key curatorial choices in framing issues of righ...
To date, very little literature explicitly explores the relationships of museums and heritage to historical consciousness, despite the overlapping concerns shared by these respective fields. This roundtable addresses the subject of museums as sites of historical consciousness by reflecting on a recent book project. Museums as Sites of Historical Consciousness: Perspectives on Museum Theory and Practice in Canada (working title, UBC Press, 2016) examines (1) ways that museums create and sha...