Jenny Rintoul
I am a Senior Lecturer in Visual Culture, and teach across both undergraduate and postgraduate courses in the school of Art & Design at University of the West of England, Bristol. I lead the UWE Visual Culture Research Group (VCRG) and am a PhD supervisor.
My current research interests are in two areas: embodiment, particularly embodied knowledges and constructions of femininity; and Art & Design education, particularly at FE and HE level. My work on Art & Design education covers constructions of theory and practice, and the reification of the terms 'intuition' and 'integration'. My monograph published by Routledge includes proposals for integrating Critical & Contextual Studies and studio practice through their curricula separation from one another.
Visit my profile here: https://people.uwe.ac.uk/Person/Jenny2Rintoul
My current research interests are in two areas: embodiment, particularly embodied knowledges and constructions of femininity; and Art & Design education, particularly at FE and HE level. My work on Art & Design education covers constructions of theory and practice, and the reification of the terms 'intuition' and 'integration'. My monograph published by Routledge includes proposals for integrating Critical & Contextual Studies and studio practice through their curricula separation from one another.
Visit my profile here: https://people.uwe.ac.uk/Person/Jenny2Rintoul
less
InterestsView All (8)
Uploads
Papers
Rintoul, J (2018) Curricula models for teaching Critical and Contextual Studies in Leach, S (Ed) AD magazine (NSEAD), issue 22, April 2018, pp.16-17
Books
The chapters in this book are divided into three sections that build on one another: ‘Discourse and debate’; ‘Models, types and tensions’; and ‘Proposals and recommendations’. Key issues include:
• knowledge hierarchies and subject histories and identities;
• constructions of ‘theory’ and the symbiotic relationship between theory and practice;
• models and practices of CCS within current post-compulsory British art and design education;
• the reification of ubiquitous terms in the fields of art and design and of education: intuition and integration;
• approaches to curriculum integration, including design and management; and
• suggestions for integrating CCS in art and design courses, including implications for pedagogy and assessment.
Integrating Critical and Contextual Studies in Art and Design offers a comprehensive analysis of the current drive towards integration within art education, and elucidates what we understand by the theory and practice of integration. It explores the history, theory, teaching and student experience of CCS, and will be of interest to lecturers, teachers and pedagogues involved in art and design as well as researchers and students of art education.
Conference Presentations
We contend that there is radical potential in the process of becoming, in not yet being fully formed. The Nursing Virgin’s likeness is so obviously inimitable and unachievable by mortal mothers that it opens possibilities for authentic and multiple maternal identities to be conceived. Furthermore, the incongruous and exaggerated binaries that run through the Nursing Virgin motif remind viewers of the possibilities that exist in the gaps between these representations. We make this argument by looking back to the Nursing Virgin motif through the lens of contemporary art works such as Eve Dent and Zoë Gingell’s Breastcups installation (2010, Mothersuckers Project) and Janine Antoni’s maternal works including to quench (2015). Both Breastcups and to quench reference milk sharing, reciprocity, and the possibility of nurturing and being nurtured simultaneously. They operate in the space opened up by representations of the Nursing Virgin in which the breast appears disembodied, an impossibly positioned part-object disconnected from Mary’s body.
The contemporary art works gleam new light on themes that emerge in the Renaissance Nursing Virgin motif, specifically breast ownership (and the disembodied breast) and unattainable motherhood, which in turn enable new readings of the Nursing Virgin through a form of reverse quotation. The Nursing Virgin is not constrained by her biology; she is a Virgin and she conceived. Her body is represented as incomplete and imperfect; one full and disembodied breast is positioned next to one absent breast. We read the Nursing Virgin anew through the lens of contemporary art works that separate breast from body and argue for the ‘radical inclusiveness’ (Sperling, 2021: 427) that readings of contemporary art works can generate in historical works. Ultimately, read through the lens of works by Antoni and Dent & Gingell, we argue that the Nursing Virgin motif can be repositioned as progressive because of, not despite, its inimitability.
Rintoul, J (2018) Curricula models for teaching Critical and Contextual Studies in Leach, S (Ed) AD magazine (NSEAD), issue 22, April 2018, pp.16-17
The chapters in this book are divided into three sections that build on one another: ‘Discourse and debate’; ‘Models, types and tensions’; and ‘Proposals and recommendations’. Key issues include:
• knowledge hierarchies and subject histories and identities;
• constructions of ‘theory’ and the symbiotic relationship between theory and practice;
• models and practices of CCS within current post-compulsory British art and design education;
• the reification of ubiquitous terms in the fields of art and design and of education: intuition and integration;
• approaches to curriculum integration, including design and management; and
• suggestions for integrating CCS in art and design courses, including implications for pedagogy and assessment.
Integrating Critical and Contextual Studies in Art and Design offers a comprehensive analysis of the current drive towards integration within art education, and elucidates what we understand by the theory and practice of integration. It explores the history, theory, teaching and student experience of CCS, and will be of interest to lecturers, teachers and pedagogues involved in art and design as well as researchers and students of art education.
We contend that there is radical potential in the process of becoming, in not yet being fully formed. The Nursing Virgin’s likeness is so obviously inimitable and unachievable by mortal mothers that it opens possibilities for authentic and multiple maternal identities to be conceived. Furthermore, the incongruous and exaggerated binaries that run through the Nursing Virgin motif remind viewers of the possibilities that exist in the gaps between these representations. We make this argument by looking back to the Nursing Virgin motif through the lens of contemporary art works such as Eve Dent and Zoë Gingell’s Breastcups installation (2010, Mothersuckers Project) and Janine Antoni’s maternal works including to quench (2015). Both Breastcups and to quench reference milk sharing, reciprocity, and the possibility of nurturing and being nurtured simultaneously. They operate in the space opened up by representations of the Nursing Virgin in which the breast appears disembodied, an impossibly positioned part-object disconnected from Mary’s body.
The contemporary art works gleam new light on themes that emerge in the Renaissance Nursing Virgin motif, specifically breast ownership (and the disembodied breast) and unattainable motherhood, which in turn enable new readings of the Nursing Virgin through a form of reverse quotation. The Nursing Virgin is not constrained by her biology; she is a Virgin and she conceived. Her body is represented as incomplete and imperfect; one full and disembodied breast is positioned next to one absent breast. We read the Nursing Virgin anew through the lens of contemporary art works that separate breast from body and argue for the ‘radical inclusiveness’ (Sperling, 2021: 427) that readings of contemporary art works can generate in historical works. Ultimately, read through the lens of works by Antoni and Dent & Gingell, we argue that the Nursing Virgin motif can be repositioned as progressive because of, not despite, its inimitability.