Cave is a permanent artwork in Belvedere Park in Milton Keynes, made by the artists Heather and Ivan Morison. It is a simple platform and shelter of heavy grey leaning concrete faces, which incorporates a cast iron bench and cast fire bowl. It is set into a steep slope, setting its back to the centre of the city, and looking out over the park, the outskirts of Milton Keynes, and the countryside beyond.

The Open University collaborated with the artist Olivia Plender in her solo show at Milton Keynes Gallery, providing archived TV programmes from the Art and Environment course, first presented in the late 1970s. These were shown on television screens as part of Plender’s installation in the Long Gallery which explores the use of television as an educational resource. Over the course of 2012 the exhibition travelled to the Arnolfini Gallery Bristol and the Centre for Contemporary Art, Glasgow.

Heather Ackroyd and Dan Harvey, Stranded

Part of the series 'Art & Alchemy: Transformation & Contemporary Art'. A two day conference across Cambridge and Norwich exploring ideas of alchemy and transformation, and the role of crystals in contemporary artistic practice and theory from Graeco-Roman Egypt to Surrealism and contemporary art.

Gill Perry, Gangs and Crystals at Home in South London: Roger Hiorns's Seizure, 2008

Part of the lecture series on 'Art & Alchemy: Transformation & Contemporary Art' A two day conference across Cambridge and Norwich exploring ideas of alchemy and transformation, and the role of crystals in contemporary artistic practice and theory from Graeco-Roman Egypt to Surrealism and contemporary art.

Derek Nisbet - an audio-visual installation responding to Raymond Mason's 'Belsen Head' (1945). Interviewed by Richard Elms at the Herbert Art Gallery and Museum Coventry, February 2011.

Discussion 1 This symposium explores the controversial status of Futurist movements in art history, and some of their ‘avant-garde’ practices. Speakers engage with various forms of Futurist art, performance and film, including the use of manifestos and demonstrations. Italian Futurism will be viewed in relation to other radical art practices across Europe. The Futurists’ disdain for traditional values and their pursuit of an ‘art of modern life’ will be explored in relation to prevailing concepts of modernity and ‘avant-garde’ utopias.

Matthew Gale and Gill Perry, ‘The raging broom of madness’: making an exhibition of Futurism  The presentation covers some of the ideas, issues and decisions that went into making Futurism at Tate Modern. It covers a range from conception to installation, including such concerns as how to present the manifestos and what happened to Balla's dog?

David Cottington, Futurism and The Avant-Garde  It is a commonplace of art history to observe that Italian futurism was among the first moveFuturism and The Avant-Gardements of the artistic avant-garde. But these terms, and the implications for understanding both futurist art and its significance for western modernism, are not often examined. What was ‘the avant-garde’, why did it emerge when it did, and what influence did it have on the sudden appearance of futurism on the European cultural stage?

Sophie Howarth, Gill Perry and Claire Bishop, Discussion 2

Robert Morris, Mike Nelson and Martin Fried, Installation Art and the Post-Medium Condition  Claire Bishop argues that installation art is exemplary of 'post-medium specific art', in other words, art whose medium is so expanded that it no longer has much to do with traditional art historical genres such as sculpture and painting.