Kayla Rose
I am a partnerships manager and active researcher working within the higher education sector.
My research and teaching experience is interdisciplinary, crossing the fields of history, art history, visual and material culture, cultural policy, and knowledge exchange. Current research focuses on two main strands: collective memory and identity formation in Irish and Northern Irish art and material culture and knowledge exchange between the university and arts and cultural sector in the UK. My passion is exploring the things (objects, art, experiences, memories) that people create, commemorate, carry, and conserve.
I am currently the Educational Partnerships Manager at Bath Spa University, where I support the Associate Pro-Vice-Chancellor for Educational Partnerships in the identification, formation, and ongoing management of strategic UK and international partnerships, leading on the review, negotiation, and renewal of contracts and agreements.
Most recently, I was Creative Producer for the Research Centre for Transcultural Creativity and Education (TRACE) and previously held the role of International Projects Manager at Bath Spa University, where I managed the University's international partnerships and exchange programs and developed and wrote the University's international strategy.
Prior to this, I was Adjunct Assistant Professor of Irish Studies and History at City University of New York (CUNY) Queens College and Adjunct Assistant Professor of Art History at CUNY Queensborough Community College. I have also worked as Postdoctoral Research Fellow at Bath Spa University and as Research Fellow in Design History on 'Bristol and Bath by Design' (AHRC/Design Council), a comprehensive 18-month project mapping and measuring the economic, social, and cultural values of design in the UK's South West region.
I hold a Ph.D. from Ulster University, Belfast in History, Art History and Material Culture Studies. My thesis was entitled "Illuminating Ireland: Illuminated Addresses and the Material Culture of Irish Civic and National Identity in the Nineteenth and Early-Twentieth Centuries." I received my M.Phil in Irish Art History in 2011 from Trinity College Dublin, where I wrote my dissertation on Art O'Murnaghan's Book of Resurrection within the context of the Celtic Revival. My B.A. was completed at Stony Brook University - State University of New York in 2009 with distinction.There I completed an interdisciplinary senior honors research project on the transition from pagan stones to Christian stone crosses and its artistic and cultural significance in Early Christian Ireland and Great Britain.
Address: Bath, UK
My research and teaching experience is interdisciplinary, crossing the fields of history, art history, visual and material culture, cultural policy, and knowledge exchange. Current research focuses on two main strands: collective memory and identity formation in Irish and Northern Irish art and material culture and knowledge exchange between the university and arts and cultural sector in the UK. My passion is exploring the things (objects, art, experiences, memories) that people create, commemorate, carry, and conserve.
I am currently the Educational Partnerships Manager at Bath Spa University, where I support the Associate Pro-Vice-Chancellor for Educational Partnerships in the identification, formation, and ongoing management of strategic UK and international partnerships, leading on the review, negotiation, and renewal of contracts and agreements.
Most recently, I was Creative Producer for the Research Centre for Transcultural Creativity and Education (TRACE) and previously held the role of International Projects Manager at Bath Spa University, where I managed the University's international partnerships and exchange programs and developed and wrote the University's international strategy.
Prior to this, I was Adjunct Assistant Professor of Irish Studies and History at City University of New York (CUNY) Queens College and Adjunct Assistant Professor of Art History at CUNY Queensborough Community College. I have also worked as Postdoctoral Research Fellow at Bath Spa University and as Research Fellow in Design History on 'Bristol and Bath by Design' (AHRC/Design Council), a comprehensive 18-month project mapping and measuring the economic, social, and cultural values of design in the UK's South West region.
I hold a Ph.D. from Ulster University, Belfast in History, Art History and Material Culture Studies. My thesis was entitled "Illuminating Ireland: Illuminated Addresses and the Material Culture of Irish Civic and National Identity in the Nineteenth and Early-Twentieth Centuries." I received my M.Phil in Irish Art History in 2011 from Trinity College Dublin, where I wrote my dissertation on Art O'Murnaghan's Book of Resurrection within the context of the Celtic Revival. My B.A. was completed at Stony Brook University - State University of New York in 2009 with distinction.There I completed an interdisciplinary senior honors research project on the transition from pagan stones to Christian stone crosses and its artistic and cultural significance in Early Christian Ireland and Great Britain.
Address: Bath, UK
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Publications by Kayla Rose
This essay examines the cultural significance of illuminated sporting
addresses in Ireland at the turn of the twentieth century. Illuminated
addresses were used in civic society as a means of commemoration,
celebrating retirement and relocation for instance, and they were
also physical expressions of public sporting events in Ireland.
Illuminated addressees are documents which provide an insight
into the cultural histories of late nineteenth- and early twentiethcentury
Irish sport. This essay pays particular attention to illuminated
addresses sponsored by members of the Gaelic Athletic Association
and also considers the significance of a late 1890s example which was
funded by supporters of the Irish horse-racing which sheds light on
the sub-culture of the Irish turf. Illuminated addresses are meaningful
documents and this essay recovers, for the first time, some of their
hidden history.
Conference proceedings edited by Mike Robinson.
Conference Presentations by Kayla Rose
Despite leaving, the Irish have maintained their connections with their homeland, and, in the nineteenth century, this was partly accomplished through exchange of greeting cards and the sending of letters via the packet trade which operated across the Atlantic Ocean. The first commercial Christmas cards can be traced to London in the 1840s, but by 1866, Marcus Ward & Co. of Belfast began lithographing the first Irish-made Christmas cards. Today these cards, designed by some of the most famous illustrators of the nineteenth century, including Walter and Thomas Crane, Hugh Thomson and Kate Greenaway, are found across Ireland and the Irish diaspora. Through examination of Christmas cards by Marcus Ward & Co. sent and received by the Irish in collections in London, Belfast, and New York, this paper will explore the art of staying in touch as an essential part of the process of saying goodbye.
span of any bridge in the world. However, though Brunel’s bridge is an incredibly significant feat of Victorian engineering, it serves as more than a bridge between two
sides of a body of water – it is a bridge between past and present, between design and place identity.
Designed by the engineer Isambard Kingdom Brunel in 1830, Clifton Suspension Bridge has become a key part of Bristol’s identity. Over the last century and a half, it has become a symbol of Bristol and all that it is capable of, serving as a prime example of the city’s engineering acumen and capacity for design, a bold steel structure for an industrial city. The man responsible for its design and construction has become an equally important symbol of the city – you cannot walk through Bristol without feeling the legacy of Brunel, evident in Temple Meads station, the Great Western Railway and the S.S. Great Britain. However, the impact of Brunel is also felt further afield in the region, which is especially apparent in his design for Box Tunnel outside of Bath. These historic landmarks provide a starting point for discussions around contemporary ideas of design within the region. This paper will focus upon the design and lasting visual legacy of the Clifton Suspension Bridge as a case study for the development of a diverse design heritage in Bristol and beyond.
The ways in which objects are produced, consumed, and disseminated are dependent upon the context within which they sit. The relationship between making and the types of market available in Bristol and Bath during the long eighteenth century played a key role in defining the perceived identities of Bristol and Bath – one as a merchant city driven by its port and the other as a tourist destination driven by leisure and luxury. While there is some truth to these perceptions, the story is much deeper and can benefit from an analysis of the trajectories of people and objects.
This paper will explore the different kinds of consumer and the consumer networks that existed in Georgian Bristol and Bath in order to provide a context for the history of making in the two cities, ranging from discussions about architecture, urban planning, and the built environment to books, ceramics, and other luxury items. Using mapping as a methodological tool, it will trace the trajectories of both people and objects in order to determine the extent to which constructions of place and identity were dependent upon them.
This essay examines the cultural significance of illuminated sporting
addresses in Ireland at the turn of the twentieth century. Illuminated
addresses were used in civic society as a means of commemoration,
celebrating retirement and relocation for instance, and they were
also physical expressions of public sporting events in Ireland.
Illuminated addressees are documents which provide an insight
into the cultural histories of late nineteenth- and early twentiethcentury
Irish sport. This essay pays particular attention to illuminated
addresses sponsored by members of the Gaelic Athletic Association
and also considers the significance of a late 1890s example which was
funded by supporters of the Irish horse-racing which sheds light on
the sub-culture of the Irish turf. Illuminated addresses are meaningful
documents and this essay recovers, for the first time, some of their
hidden history.
Conference proceedings edited by Mike Robinson.
Despite leaving, the Irish have maintained their connections with their homeland, and, in the nineteenth century, this was partly accomplished through exchange of greeting cards and the sending of letters via the packet trade which operated across the Atlantic Ocean. The first commercial Christmas cards can be traced to London in the 1840s, but by 1866, Marcus Ward & Co. of Belfast began lithographing the first Irish-made Christmas cards. Today these cards, designed by some of the most famous illustrators of the nineteenth century, including Walter and Thomas Crane, Hugh Thomson and Kate Greenaway, are found across Ireland and the Irish diaspora. Through examination of Christmas cards by Marcus Ward & Co. sent and received by the Irish in collections in London, Belfast, and New York, this paper will explore the art of staying in touch as an essential part of the process of saying goodbye.
span of any bridge in the world. However, though Brunel’s bridge is an incredibly significant feat of Victorian engineering, it serves as more than a bridge between two
sides of a body of water – it is a bridge between past and present, between design and place identity.
Designed by the engineer Isambard Kingdom Brunel in 1830, Clifton Suspension Bridge has become a key part of Bristol’s identity. Over the last century and a half, it has become a symbol of Bristol and all that it is capable of, serving as a prime example of the city’s engineering acumen and capacity for design, a bold steel structure for an industrial city. The man responsible for its design and construction has become an equally important symbol of the city – you cannot walk through Bristol without feeling the legacy of Brunel, evident in Temple Meads station, the Great Western Railway and the S.S. Great Britain. However, the impact of Brunel is also felt further afield in the region, which is especially apparent in his design for Box Tunnel outside of Bath. These historic landmarks provide a starting point for discussions around contemporary ideas of design within the region. This paper will focus upon the design and lasting visual legacy of the Clifton Suspension Bridge as a case study for the development of a diverse design heritage in Bristol and beyond.
The ways in which objects are produced, consumed, and disseminated are dependent upon the context within which they sit. The relationship between making and the types of market available in Bristol and Bath during the long eighteenth century played a key role in defining the perceived identities of Bristol and Bath – one as a merchant city driven by its port and the other as a tourist destination driven by leisure and luxury. While there is some truth to these perceptions, the story is much deeper and can benefit from an analysis of the trajectories of people and objects.
This paper will explore the different kinds of consumer and the consumer networks that existed in Georgian Bristol and Bath in order to provide a context for the history of making in the two cities, ranging from discussions about architecture, urban planning, and the built environment to books, ceramics, and other luxury items. Using mapping as a methodological tool, it will trace the trajectories of both people and objects in order to determine the extent to which constructions of place and identity were dependent upon them.
Looking beyond quantitative indicators of value, this research is investigating six main areas of the region’s design ecosystem – place, dynamism, attractors, knowledge creation, knowledge exchange and diversity – in order to understand how and why design is, and can continue to be, of significance to the further development of Bristol and Bath as creative and cultural cities. It also seeks to identify the key indicators of a healthy design ecosystem, which can then be tested against existing data to determine economic, cultural and social value.
The project is funded by the Design Council and the Arts and Humanities Research Council, and brings together UWE Bristol, Bath Spa University and University of Bristol along with regional partners West of England Design Forum, Bristol Media, Creative Bath, the West of England Local Enterprise Partnership (LEP) and the REACT Knowledge Exchange Hub.
Do the two cities have separate design identities or does the city-region have a single cohesive identity?
Presentations will cover a wide range of disciplinary perspectives, including historians, architectural historians, engineers, designers and collectors, and touch upon the historical and contemporary resonances of design in the Bristol and Bath city region. They will reflect upon the region’s design identity and explore the region’s characteristic resources for design alongside the relationships between people, place and objects. They will show how the historical and contemporary reputations of this region are a combination of a perceived and an actual identity – of a façade and the facts behind it.