City Recorder: Alasdair Gray's Practice & The 'Disappearing City' of Glasgow

阿拉斯代尔·格雷毕生作品的中心题材：格拉斯哥市。这一项目将研究如何将他的实践理解为毕生努力记录他那座正在消失的城市中的人和地方。通过与阿拉斯代尔·格雷档案馆(AGA)的合作，这个项目将询问格雷的实践中心如何边缘化人和地方。阿加的有形资产代表着丰富的资源；计划对格雷同时代的老年人进行的口述历史采访确保了这个时间敏感的项目增加了这一重要的文化资产，并从中吸取了教训。问题：-格雷的做法如何才能被理解为试图将格拉斯哥描绘成一座正在消失的城市？我们如何使用对象/材料/采访来“植根”这一点？-与格雷的同时代人、朋友和合作者进行口述历史访谈如何有助于从人和地点的角度理解格雷的“正在消失的格拉斯哥”？-与AGA合作进行研究如何有助于对格雷在代表下关于平等的全部作品有新的理解和新的视角？在多艺术形式学习框架下的生活经历？-如何研究记录格拉斯哥人和地方的格雷作品有助于更广泛地了解这座城市的过去。问题：格雷主要被视为一位有影响力的后现代小说作家，这些小说展示了格拉斯哥如何成为一个具有想象力潜力的地方。格雷的作品无疑产生了重大的文化影响，他的小说《拉纳克》(1981)关注的是格拉斯哥改变了文化景观。但格雷几十年来在视觉和文学艺术领域的广泛实践表明，这种观点过于简单化。这位博士将对格雷进行研究，他认为格雷是一名博学者，他的主要兴趣是“记录正在消失的城市”。这意味着将普通格拉斯哥人的生活集中在视觉和文学艺术上。AGA包含了格雷的过程、方法、信仰系统和通信的许多细节。AGA的内容有可能影响对格雷作品的看法。该项目将询问档案馆的资源，并以口头历史采访的形式增加初步研究，采访那些声音有助于更全面地了解格雷的过程和格拉斯哥更广泛的历史的人。城市记录员：格雷在1977-79年间担任格拉斯哥人民故宫博物院的城市记录员，他描绘了这座城市的失业者与其教务长和政客并列在一起，并描绘了自被拆除以来的建筑。在他的汽车象形图《图片中的生活》中，格雷写道，这个委员会的一个关键部分是描绘即将改变或拆除的街道、普通公众的私人成员以及工作场所的内部和工人。格雷说，人民故宫博物院于1898年建在格拉斯哥绿地上，作为城市东端的文化中心，以平衡西部的凯尔文格罗夫博物馆，但它几乎没有展品，也没有20世纪初以后的格拉斯哥街道或人物的绘画。他被任命为艺术家录制员，因为他一贯的方法描绘格拉斯哥。他的作品是这种方法在工作中的完美例子，值得更充分的关注。录制格拉斯哥·格雷的方法是抵制格拉斯哥试图抹去边缘化声音的陈述。在他的非虚构作品集《我和其他人》(他在其中描绘了不知名的格拉斯哥人)中，格雷一直抵制对他的城市的定义，这些定义避免呈现它的所有多样性。在他的Hillhead Subway壁画(2011)中，格雷把垃圾工和街道清洁工与政客们放在一起。他的作品被放置在风景中，如地铁站等免费进入的地方，这本身就是一种意图的声明，这位艺术家试图以普通格拉斯哥人为核心来重塑格拉斯哥。

Central subject of Alasdair Gray's life's work: the city of Glasgow. This project will research how his practice can be understood as a lifelong attempt to record the people and places of his 'disappearing city'. Through collaboration with The Alasdair Gray Archive (AGA), this project will interrogate the ways Gray's practice centres marginalised people and places. AGA's physical assets represent a rich resource; the planned oral history interviews with Gray's elderly contemporaries ensure this time-sensitive project adds to, as well as draws from, this essential cultural asset. Questions:- In what ways can Gray's practice be understood as an attempt to portray Glasgow as a 'disappearing city' and how can we 'root' this using objects/material/interviews?- How can conducting Oral History interviews with Gray's contemporaries, friends and collaborators contribute to an understanding of Gray's 'disappearing Glasgow' in terms of both people and places?- How can conducting research in collaboration with AGA contribute to new understandings and fresh perspectives on Gray's oeuvre in relation to equality, under representation, life experiences within the framework of multi-artform learning?- How might research into particular Gray works of that record the people and places of Glasgow contribute to a broader understanding of the city's past.Problems: Gray is primarily seen as an influential literary writer of postmodern fictions which show how Glasgow might become a place of imaginative potential. Gray's work certainly had a significant cultural impact, with his novel Lanark (1981) focusing on Glasgow changing the cultural landscape. But Gray's decades of expansive practice in the visual and literary arts shows this view to be too reductive. This PhD will conduct research addressing Gray as a polymath whose primary interest was 'recording the disappearing city'. This meant centring the lives of ordinary Glaswegians in visual and literary art that. AGA contains much detail of Gray's process, approach, belief systems and correspondence. The contents of AGA have the potential to influence views of Gray's oeuvre. The project will interrogate the resources at the archive and add to them with primary research in the form of oral history interviews with those whose voices can contribute to a fuller understanding of Gray's process and Glasgow's broader history. City Recorder:Gray's period as City Recorder for The People's Palace Museum, Glasgow, in 1977-79, he portraited the unemployed of the city in juxtaposition with its Provost and politicians and depicted buildings since knocked down. In his auto pictography, A Life in Pictures, Gray wrote that a key part of this commission was to depict 'streets about to be changed or demolished', 'private members of the general public' and 'interiors of workplaces with the workers'. Gray stated 'The People's Palace museum had been built on Glasgow Green in 1898 as a cultural centre in the city's east end to balance Kelvingrove Museum in the west, yet it had very few exhibits and no paintings of Glasgow streets or people later than the early 20th Century'. He was appointed Artist Recorder because of his consistent approach to depicting Glasgow. The work he produced is a perfect example of that approach at work and deserves fuller attention.Recording GlasgowGray's approach was to resist presentations of Glasgow that sought to erase marginalized voices. In his nonfiction collected works Of Me & Others (in which he portraited unknown Glaswegians), Gray consistently resisted definitions of his city that avoided presenting it in all its diversity. In his Hillhead Subway mural (2011), Gray presented bin men and street cleaners alongside politicians. The very fact that his work was placed in the landscape, in free-to-access places such as subway stations was in itself a statement of intent, the artist seeking to remake Glasgow with ordinary Glaswegians at its heart.