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Illustration and Heritage explores the re-materialisation of
absent, lost, and invisible stories through illustrative practice
and examines the potential role of contemporary illustration in
cultural heritage. Heritage is a ‘process’ that is active and
takes place in the present. In the heritage industry, there are
opposing discourses and positions, and illustrators are a critical
voice within the field. Grounding discussions in concepts
fundamental to the illustrator, the book examines how the
historical voice might be ‘found’ or reconstructed. Rachel
Emily Taylor uses her own work and other illustrators’ projects
as case studies to explore how the making of creative work –
through the exploration of archival material and experimental
fieldwork – is an important investigative process and engagement
strategy when working with heritage. What are the similar functions
of heritage and illustration? How can an illustrator ‘give
voice’ to a historical person? How can an illustrator disrupt an
archive or museum? How can an illustrator represent a historical
landscape or site? This book is a contribution to the expanding
field of illustration research that focusses on its position in
heritage practice. Taylor examines the illustrator’s role within
the field, while positioning it alongside the disciplines of
museology, anthropology, archaeology, performance, and fine art.
Illustration and Heritage explores the re-materialisation of
absent, lost, and invisible stories through illustrative practice
and examines the potential role of contemporary illustration in
cultural heritage. Heritage is a ‘process’ that is active and
takes place in the present. In the heritage industry, there are
opposing discourses and positions, and illustrators are a critical
voice within the field. Grounding discussions in concepts
fundamental to the illustrator, the book examines how the
historical voice might be ‘found’ or reconstructed. Rachel
Emily Taylor uses her own work and other illustrators’ projects
as case studies to explore how the making of creative work –
through the exploration of archival material and experimental
fieldwork – is an important investigative process and engagement
strategy when working with heritage. What are the similar functions
of heritage and illustration? How can an illustrator ‘give
voice’ to a historical person? How can an illustrator disrupt an
archive or museum? How can an illustrator represent a historical
landscape or site? This book is a contribution to the expanding
field of illustration research that focusses on its position in
heritage practice. Taylor examines the illustrator’s role within
the field, while positioning it alongside the disciplines of
museology, anthropology, archaeology, performance, and fine art.
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