tag:blogger.com,1999:blog-243912032024-03-13T08:38:27.586+00:00craft researchknowledge through makingLouise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.comBlogger162125tag:blogger.com,1999:blog-24391203.post-13523759409458176542012-10-11T09:31:00.001+01:002012-10-11T09:31:31.020+01:00Funded PhD Opportunity - textile design, UK<br />
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‘Thinking Through Textiles’</div>
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Applications are invited for a PhD studentship offered by the School of the Arts, English and Drama Loughborough University within the area of textile design.<br />
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Recent design research has discussed how textiles practice and knowledge, or ‘textile thinking’, has the capacity to originate new materials, forms, and material systems, as well as to enhance the sensory pleasure of materials (Igoe 2012 and Spuybroek 2005). This PhD project draws on the pervasive nature of textiles to consider the possibilities of ‘new’ materials or ways of approaching materials from:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>process perspectives<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>aesthetic perspectives<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>functional/performance perspectives<br />
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Exploring the creative application of contemporary and traditional textiles processes as well as new technologies, the candidate will investigate the potential of ‘textile thinking’ to develop innovative textile outcomes in terms of either (or any combination of) process, aesthetics, functional/performance, possibly linking into sustainable design agendas. In addition, the PhD study could contribute to current debate regarding the use of tacit knowledge and its importance in research, its integration and utilization in the process of research, and methods for the communication of tacit knowledge within research-by-practice. The studentship is deliberately focused on attracting researchers who wish to engage with inter-disciplinary and cross-disciplinary approaches to enable the possibility to explore the application of knowledge gained from textile practice within other disciplinary areas. The candidate’s expertise in textile practice and the experiential knowledge that such a high level of skill brings could form the basis for the project approach, acknowledging that technical expertise is based on experience, tacit understanding and an intuitive grasp and judgment of processes and situations (Dreyfus & Dreyfus 1986). <br />
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The project will be supervised by academics from the Textile Research Group at The School of the Arts. (http://www.lboro.ac.uk/departments/sota/research/groups/Textiles/index.html) In addition to being guided by supervisors for the research project, the successful candidate will have to attend the PhD training and seminar programme run by the School of the Arts and the Graduate School’s training courses.<br />
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The candidate must have an applied knowledge of textile design practice and have a committed interest in innovation within the field. In addition an awareness and understanding of practice based research methods is required. We anticipate that the successful candidate will be qualified to Masters level. The studentship provides a stipend of £13,590 per annum plus tuition fees at the UK/EU rate for up to three years.<br />
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We envisage a start date for the student researcher of April 2013</div>
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Enquiries should be made to Emma Nadin (School of Arts Research Postgraduate Research Administrator) E.L.Nadin@lboro.ac.uk</div>
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Details about the application process can be found here:</div>
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http://www.lboro.ac.uk/study/apply/research/</div>
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Deadline December 14th 2012</div>
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Please quote the following reference when applying: TRG/2012/2</div>
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Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-18596560497268470442012-09-12T08:57:00.000+01:002012-09-12T08:59:05.939+01:00Craft Research, Volume 4.2 - Call for submissions<div class="separator" style="clear: both; text-align: center;">
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After three successful issues, <a href="http://www.blogger.com/Craft%20Research:%20%20http://www.intellectbooks.co.uk/journals/view-Journal,id=172/" target="_blank">Craft Research</a> is preparing to expand to two issues per year. From 2013 there will be two issues, one in January/February and one in September/October each year. <br />
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The <b>final date </b>for<b> submission </b>of contributions for Vol 4.2 is<b> Monday 3 December 2012</b>.<br />
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For guidance notes or further information, or to submit an article or review, please contact the editors or visit the journal's website for details: <br />
<br />
Kristina Niedderer k.niedderer@wlv.ac.uk<br />
Katherine Townsend katherine.townsend@ntu.ac.uk <br />
<br />
<b>Aims & Scope</b><br />
Craft Research (CRRE) is the first peer-reviewed academic journal dedicated to the development and advance of contemporary craft practice and theory through research. The aim of Craft Research is to elicit craft as a vital and viable modern discipline that offers a vision for the future and for the sustainable development of human social, economical and ecological issues. This role ofcraft is rooted in its flexible nature as a conduit from design at one end to art at the other. It gains its strength from its at times experimental, at times developmental nature, which enables craft to explore and challenge technology, to question and develop cultural and social practices, and to interrogate philosophical and human values.<br />
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<b>Call for Papers</b><br />
Craft Research aims to actively promote and strengthen this future-oriented role of the crafts. In order to do so, it recognises inter and cross disciplinary practices, and encourages diverse approaches to research arising from practice, theory andphilosophy. It welcomes contributions from new and established researchers,scholars, and professionals around the world who wish to make a contribution to advancing the crafts. Contributions may include research into materials, technology, processes, methods, concepts, aesthetics and philosophy, etc. in any discipline area of the applied arts and crafts, including craft education. Craft Research welcomes a number of different types of contributions as set out below.<br />
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<b>Contributions</b></h3>
<b>Full Research Papers</b> (4000-6000 words)<br />
They will describe completed research projects, including research problem,<br />
questions, methods, outcomes, and findings. They should include original work of a research and/or developmental nature and/or propose new methods or ideas that are clearly and thoroughly presented and argued.<br />
<b><br />Short Research Papers / Position Papers </b>(2000-3000 words)<br />
• Short Research Papers may describe smaller research projects or research in progress including research problem, questions, methods, (expected) outcomes and findings. They are an opportunity to new researchers/practitioners to get into publishing.<br />
• Position papers may put forward and debate a position on a particular (current) issue (e.g. new technology, material, theoretical, social or educational issue).<br />
Both kinds of contributions should include original work of a research or developmental nature and/or propose new methods or ideas that are clearly and thoroughly presented and argued. <br />
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<b>Craft & Industry Reports</b> (1500-3000 words)<br />
Reports of Investigative Practice from Craft & Industry should present an advance in and for the field, including collaborations and new developments of work, processes, methods, ideas etc. by practitioners and industry in the crafts.<br />
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<b>Review Section. </b>We invite reviews of the following:<br />
• The Portrait Section (1000-2000 words)<br />
Will feature the work of an individual (crafts person, artist, designer, maker, researcher) within the field whose creative work stands out for its developmental / research qualities and contribution to the crafts.<br />
• The Exhibition Section (1000-2000 words)<br />
Will feature scholarly reviews of exhibitions that are of particular<br />
developmental / research significance for the field for the technical,<br />
conceptual, aesthetic, social etc. quality of the work or for the curation.<br />
• The Publication Review (1000-2000 words)<br />
Will feature reviews of publications in print and new media.<br />
• The Conference Section (1000-2000 words) <br />
Will feature reviews of any relevant conferences/symposia/etc. in the field.<br />
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<b>Calendar of exhibitions and conferences</b><br />
• We invite notifications of important and relevant forthcoming craft<br />
exhibitions and craft conferences/research events.<br />
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<b>Remarkable image section</b><br />
• We invite the submission of images of outstanding quality for their beauty, complexity, simplicity, challenging nature, novelty, humour, humanity, etc. that are representative of contemporary craft developments and research.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-84851341992738709732012-06-29T09:15:00.002+01:002012-06-29T09:26:04.211+01:00'Use Your Hands for Happiness': PhD Opportunities<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><span style="font-size: 10pt;"> AHRC Collaborative Doctoral Award opportunity to potential candidates:<br />
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'Use Your Hands for Happiness': crafts practice as a means of building<br />
community assets, health and well-being.<br />
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University College Falmouth(Cornwall), <br /> in partnership with Arts for Health Cornwall.<br />
Mode of Study: Full time, for three years<br />
Application Deadline: 13th July 2012<br />
Interview date: 25th July 2012<br />
Start date: 1 October 2012<br />
Funding: Fees and a stipend of £14,140 per year <br /> (plus £1500 p/a research expenses)<br />
Supervisors: Dr Fiona Hackney (University CollegeFalmouth)<br />
Dr Nicola Thomas (Geography, University of Exeter)<br />
Ms Jayne Howard (Arts for Health Cornwall)<br />
<br />
<a href="https://amxprd0410.outlook.com/owa/redir.aspx?C=cEtC3f9Ipkii0u-DjFC_DFrPF5peKc8IZPTcnUhtaZiGhnGY8tH-Q9okVbBNdc1eT44tOVPsMw8.&URL=http%3a%2f%2fair.falmouth.ac.uk%2fahrc-cdaphdstudentship" target="_blank">http://air.falmouth.ac.uk/ahrc-cdaphdstudentship</a><br />
<a href="https://amxprd0410.outlook.com/owa/redir.aspx?C=cEtC3f9Ipkii0u-DjFC_DFrPF5peKc8IZPTcnUhtaZiGhnGY8tH-Q9okVbBNdc1eT44tOVPsMw8.&URL=http%3a%2f%2fwww.artsforhealthcornwall.org.uk%2f" target="_blank">http://www.artsforhealthcornwall.org.uk/</a><br />
<br />
<b>
Summary</b><br />
This AHRC doctoral studentship focuses on the diverse ways in which<br />
craft practice - particularly creative hobby crafts - can enhance the<br />
well-being and health of communities in primary care health practice<br />
initiatives or as part of creative arts health programmes. It takes an<br />
'asset-based' approach to crafts and aims to examine how an art for<br />
health agency can build on the inherent skills, competencies and<br />
creativity in communities, while paying attention to the relationship<br />
between social and cultural capital when agencies work with community<br />
groups. The project develops from the AHRC network Connecting Craft and<br />
Communities <a href="https://amxprd0410.outlook.com/owa/redir.aspx?C=cEtC3f9Ipkii0u-DjFC_DFrPF5peKc8IZPTcnUhtaZiGhnGY8tH-Q9okVbBNdc1eT44tOVPsMw8.&URL=http%3a%2f%2fconnectingcraftcommunities.wordpress.com%2f" target="_blank">
http://connectingcraftcommunities.wordpress.com/</a> and it is<br />
envisaged that questions of craft within social networks, creative and<br />
embodied practices will be central themes.<br />
The award is available as a three-year full-time AHRC studentship. It<br />
pays fees and an annual maintenance grant (currently £14,140 per year)<br />
(UK/EU residency requirements, expectation of a Masters degree in a<br />
cognate humanities/social science discipline), with Arts for Health<br />
Cornwall contributing a further £1,500 per annum for the student¹s<br />
research expenses.<br />
<br />
Informal enquiries before the submission date can be sent to Dr Fiona<br />
Hackney on Fiona.Hackney@falmouth.ac.uk or for application queries<br />
please contact Jemma.Julian@falmouth.ac.uk, tel. 01326 255831</span></span><br />
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<a href="https://amxprd0410.outlook.com/owa/redir.aspx?C=cEtC3f9Ipkii0u-DjFC_DFrPF5peKc8IZPTcnUhtaZiGhnGY8tH-Q9okVbBNdc1eT44tOVPsMw8.&URL=http%3a%2f%2fair.falmouth.ac.uk%2fahrc-cdaphdstudentship" target="_blank">http://air.falmouth.ac.uk/ahrc-cdaphdstudentship</a><br />
</span></span>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-37741021618428537452012-04-25T10:49:00.001+01:002012-04-25T10:55:41.626+01:00Design and InnovationDesign and Innovation is one of the tracks at the forthcoming 10th European Academy of Design Conference - <a href="http://www.craftingthefuture.se/" target="_blank">Crafting the Future</a>, April 2013 in Gothenburg, Sweden.<br />
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Interest in how design can spur innovation has gained momentum in recent years, despite a general lack of interest in design within main-stream innovation research. New concepts about the relationship and intersection between design and innovation have instead been developed either in design practice, such as the concept of Design Thinking (Brown, 2008), or in fringes of innovation research with inspiration from other discourses, such as the concept of C-K theory (Le Masson et al, 2010).<br />
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This is all very promising. However cutting across these developments is also a problematic tendency to either rationalize design into a general innovation approach, such as C-K theory, or to reproduce design as a series of methods, as with the Design Thinking concept. In both cases design is described as a problem solving approach. A risk is then that the value of design in innovation contexts, as a lived and experienced practice of meaning creation (Krippendorff, 1989), is either "lost in translation", or is taken for granted but not explored in new contexts. A further risk is the general lack of empirical studies that focus on understanding the role of design and designers in innovation work.<br />
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In this track on Design and Innovation, we want to invite scholars to present their work on the role of design and design practitioners in innovation work as well as on the epistemological relationship between design and innovation. For example, what is the value that design can create in innovation processes? How is such value expressed, and what are typical assumptions that underpin the rhetoric around design and innovation initiatives and policies? What are the benefits as well as the obstacles when combining the two fields? How can companies become more innovative through repositioning design in their operations, and how can such processes be evaluated? How can design capabilities be developed in practice and what are the challenges that design practitioners face when entering new roles in innovation work? The aim of this track is to contribute to a better understanding of what role design can play in the future of innovation. Both conceptual and empirical papers are welcome.<br />
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<b style="color: #990000;">Short Abstracts due for submission 15 May 2012 </b><br />
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Track Chairs:<br />
- Maria Elmquist, Center for Business Innovation / Chalmers University of Technology.<br />
- Marcus Jahnke, HDK, the School of Design and Crafts at the University of Gothenburg.<br />
- Roberto Verganti, Politecnico di Milano.<br />
- Julian Malins, Gray's School of Art at the Robert Gordon University, Aberdeen, Scotland.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-8936404257839712262012-02-24T11:58:00.000+00:002012-02-24T11:58:12.172+00:00Crafting the Future<a href="http://1.bp.blogspot.com/-px9pW8Nb3Tc/T0d5106uy3I/AAAAAAAAAL8/DxOjriDHAwI/s1600/Screen+shot+2012-02-24+at+11.51.06.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="101" src="http://1.bp.blogspot.com/-px9pW8Nb3Tc/T0d5106uy3I/AAAAAAAAAL8/DxOjriDHAwI/s200/Screen+shot+2012-02-24+at+11.51.06.png" width="200" /></a><b>MAKING TOGETHER </b><br />
<span style="font-size: x-small;"><b>Open, Connected, Collaborative</b></span><br />
<br />
<br />
<br />
<br />
<br />
10th International Conference of the European Academy of Design<br />
<br />
17-19 April, 2013<br />
Gothenburg, Sweden<br />
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The theme of the conference is designer’s practice knowledge. How can the specific knowledge of designers be brought forward, articulated, made visible and be understood and used in contexts like innovation, business developmente and social change?<br />
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The track will reflect on changes in creativity and production, traditionally seen as the province of professional design but now driving new ways to work, socialise, be creative and live across society. This is informing the emergence of novel design scenarios to create products and services (e.g. personal manufacturing, peer production, fablabs, crowd sourcing, collaborative business models) on many levels: people, companies, organisations, institutions, communities.<br />
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Design is challenged with new business models, long tail markets, new networked organisations, diffused distribution, non-technological innovation, that are underpinned by new ways to manufacture and design products and services. Creative practitioners are increasingly working both through direct creative input and through facilitating new processes. Design and creativity can in fact rethink and give meaning to tools and technologies that help people connect, understand, share and create. Design is also taking the position of facilitator and enabler where in the past it was a technological gatekeeper.<br />
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Although pervasive, this topic is still emerging and being explored, both from an academic perspective (underlining the theoretical bodies that can help such approach emerge), and from the perspective of practitioners (detailing the development of systemic and collaborative projects). Examples can be found in Service Design, Transformation Design, Open Design. Moreover these phenomena are underlining a revolution in work and human relationships, mirroring a move to more distributed, collaborative processes.<br />
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Can collaborative practices trigger new business models and new innovation in products and services? How can collaborative making enabled by social technologies be explored/practiced/developed from a design perspective? What are the implications/benefits/impact of collaborative making for design? How may the boundaries and role of design be re-defined? Can designers design collaborative networks?<br />
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For any further information please refer to the official website of the conference <a href="http://www.craftingthefuture.se/">http://www.craftingthefuture.se</a><br />
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<b>Important dates:</b><br />
Submission of intention to submit: Until May 15, 2012<br />
Submission of full paper: September 15, 2012<br />
*Notification of acceptance or revision: November 1, 2012<br />
Notification of acceptance: December 15, 2012<br />
Conference date: April 17-19, 2013<br />
<br />
We are coordinating a track within the above mentioned EAD conference and are inviting submissions on the topic:Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com1tag:blogger.com,1999:blog-24391203.post-33682071625551770792012-02-20T16:25:00.002+00:002012-02-20T16:38:31.029+00:00Ideas of the Handmade: Histories and Theories of MakingFREE EVENT :: Friday, 20 April 2012<br />
<br />
Contact Dr Catharine Rossi to book your place* - c.rossi@ed.ac.uk <br />
<br />
Edinburgh College of Art/University of Edinburgh<br />
Hunter Lecture Theatre (O17), Hunter Place,<br />
Lauriston Building, Laurison Place, Edinburgh, EH3 9DF<br />
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Conveners: Dr Catharine Rossi and Dr Juliette MacDonald, <br />
Edinburgh College of Art/University of Edinburgh<br />
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<b>Ideas of the Handmade: Histories and Theories of Making</b> is a one-day seminar devoted to craft. It will bring together a variety of craft-related research and researchers in order to investigate and champion the importance of craft, an area largely marginalised in design history and yet vital to contemporary and historical design culture in terms of practice, production and consumption.<br />
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The symposium builds on the recent surge of interest in craft amongst academics, practitioners and the public alike. There is an appetite not just for consuming and producing craft, but also for critical ways of thinking about the handmade. The variety of subjects and arguments at the seminar showcases research by established and emerging voices in thinking about the handmade, whose research moves encompasses both the identification of craft as a set of material-based disciplines as an expanded view of craft as a multiple, shifting concept that exists in relation to art, design and architecture. The papers range from revisitations of historical figures and institutions such as Ernest Gimson and the Dovecot Studios to reflections on the role of craft today in the prototyping and innovation process. Together, the seminar combines historical and contemporary perspectives by both academics and practitioners from a variety of multidisciplinary approaches that will lead to further developments in craft-related design history.<br />
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Bringing together independent practitioners and academics based at a variety of institutions including Edinburgh College of Art, the University of St Andrews and the University of Dundee, Ideas of the Handmade will showcase and connect the rich variety of craft-related research being conducted in Scotland and will serve as a contribution to ECA's active research culture.<br />
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<b>Programme of the day:</b><br />
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9:30 - 10:00 Registration<br />
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10:10 - 10:15 Welcome<br />
<br />
10:15 - 10:45 Annette Carruthers (Senior Lecturer, School of Art History, University of St Andrews)<br />
''I See More than Difference - I see Opposition': Gimson, Lethaby and the D.I.A'<br />
<br />
10:45 - 11:15 Francesca Baseby (PhD Candidate, University of Edinburgh & Dovecot Studios)<br />
'Fact or Fiction? The Creation of Dovecot Studios' identity after World War Two'<br />
<br />
11:15 - 11:45 Andrea Peach (Lecturer in Contextual and Critical Studies, Gray's School of Art, Robert Gordon University, Aberdeen.)<br />
<br />
11:45 - 12:00 Coffee Break<br />
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12:00 - 12:30 Katy West (Ceramic Designer)<br />
'Authorship and the Modern Maker'<br />
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12:30 - 13:00 Ellie Herring (PhD Candidate, University of Edinburgh)<br />
'Furnishing Windows: The Craft of Window Display'<br />
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13:00 - 14:00 Lunch (provided)<br />
<br />
14:00 - 14:30 Dr Nuno Sacramento (Director of the Scottish Sculpture Workshop)<br />
'The Lost Hand'<br />
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14:30 - 15:00 Dr Jessica Hemmings (Head of Context/Deputy Director of Research, Edinburgh College of Art, University of Edinburgh)<br />
'Smart Writing about Smart Textiles'<br />
<br />
15:00 - 15:15 Coffee Break<br />
<br />
15:15 - 15:45 Dr. Louise Valentine (Duncan of Jordanstone College of Art & Design)<br />
'Craft and the Innovation Agenda'<br />
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15:45 - 16:15 Arno Verhoeven (Lecturer, Product Design, Stage 1 Coordinator, School of Design, Edinburgh College of Art/University of Edinburgh)<br />
'From Concept to Creation. Low-fidelity Prototyping and its Role in Designers' Sense-Making: a protocol analysis.'<br />
<br />
16:30 Drinks Reception<br />
<br />
Thanks to the generous support of the Design History Society and Edinburgh College of Art/University of Edinburgh, the <mailto:c.rossi@ed.ac.uk>the Day Seminar is open to all and is free to attend. </mailto:c.rossi@ed.ac.uk><br />
<br />
<mailto:c.rossi@ed.ac.uk>*RSVP however is essential as places are limited. Please confirm your place by email to Dr Catharine Rossi (c.rossi@ed.ac.uk<mailto:c.rossi@ed.ac.uk>)<br />
<br />
</mailto:c.rossi@ed.ac.uk></mailto:c.rossi@ed.ac.uk>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-12809262097440534952012-02-16T13:21:00.000+00:002012-02-16T13:21:53.174+00:00Textiles as agent for wellbeing<b>Duck Journal for Research in Textiles and Textile Desig</b>n<br />
Call for Contributions: Volume 3<br />
<br />
The first call of the Journal for Research in Textiles and Textile Design explored what research in this wide field may encompass and began to establish a platform for textile research. (Volume 1) The second call examined an issue in the immediate context, namely the impact of austerity on craft making and fashion design. (Volume 2) This call aims to show how textile research might be a positive factor enabling and facilitating social and personal contexts - an agent for wellbeing. Accepted contributions will be published in Volume 3.<br />
<br />
Textiles and wellbeing are intimately connected from physical, psychological and emotional perspectives. The relationship between the two can be perceived and expressed within the contexts of textile making, consumption, use and viewing. They may be activated in both private and communal settings.<br />
<br />
The intention of this call is to draw out the links between textiles and wellbeing within a broad range of contexts and from multiple standpoints. We welcome contributions relating to textile research in the following areas:<br />
• Textiles and physical well-being - innovations in medical, technical, smart and interactive textiles applied within creative or social contexts <br />
• Textiles and emotional well-being - fashion, wearable textiles engendering sensory responses and changing mood <br />
• Textiles and well-being in the built environment - interiors, architecture, colour and tactility <br />
• Textiles as agent for sustainable behaviour leading to well-being <br />
• Textiles as agent of community and communication - therapeutic, communities of practice, alternative learning styles, occupational health, community projects e.g. millennium embroideries, Mardi Gras costumes, communication through communal making <br />
• Textiles and memory – textiles and emotional attachment, textiles documenting personal or community events or ceremonies, collecting textiles, textile heirlooms <br />
<br />
Duck: Journal for Research in Textiles and Textile Design also welcome submissions to previous calls. For details, please see the individual calls for papers in Volume 1 and Volume 2 respectively.<br />
<br />
Deadline for submissions: 30 May 2012<br />
Authors will be informed of the outcome of their submission by the end of September 2012.<br />
<br />
Submission Instructions: Contributions may take the form of written texts (maximum 5,000 words), visual essays, a series of images relating to methods (sketchbook style), visual diaries or other methods deemed appropriate. All submissions however, must respond to the call articulating the research question, the research methodology and methods used, conclusions and discussion.<br />
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Contributors must present their ideas in an accessible format for Duck's diverse readership of researchers, educators, artists and designers. The Harvard System of referencing should be used.<br />
Images should be 300dpi where possible, embedded in the submission, captioned and referenced. Submissions should be provided in word format.<br />
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Please provide your name, affiliation, email address, a title for your submission, an abstract (200 words max) of your contribution and five keywords.<br />
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Please send submissions by email to: F.E.Kane2@lboro.ac.uk (Maximum file size: 5mb)<br />
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Alternatively, please send on disk (CD or DVD) to: Dr FE Kane, DUCK Journal - Textiles Research Group, Loughborough, University School of Art and Design, Loughborough, Leicestershire, LE11 3TU UK<br />
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Copyright: In submitting material to Duck, contributors thereby grant permission for it to be published on the Duck website. Contributors retain copyright of their material and may use it elsewhere after publication in Duck, though we would appreciate it if Duck could be acknowledged as the original source of publication. Please note that it is the responsibility of contributors to obtain the necessary permissions for reproducing work other than their own.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-75017965406340592902011-10-28T04:06:00.001+01:002011-10-28T04:08:16.475+01:00Craft Australia Need Us!!<div class="separator" style="clear: both; text-align: center;"></div><b><span style="font-size: large;">Craft Australia Defunded by the Australia Council</span></b><br />
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</div><div class="separator" style="clear: both; text-align: left;">Craft Australia is challenging this decision and is also seeking our support. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">If Craft Australia is lost to the Australian craft and design sector it means there will be no national peak organisation representing the craft and design sector. There will be no visible national portal to represent the work of the many artists, designers, gallerists, curators, writers and researchers working in this field. Australia will be the only OECD country without a dedicated agency to advocate and promote the work of this area of practice. The many initiatives that Craft Australia has been advocating for to link craft and design with innovation and industry will be lost. Substantial digital content about this sector will be lost, creating a significant knowledge gap about our cultural traditions. </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">In my experience as a Scottish Craft and Design Practitioner and Academic Researcher, Craft Australia is an international ambassador and champion for the craft sector. It demonstrates leadership and offers exemplars of best practice for us all to learn from and aspire to. I believe that loosing this voice is something the international craft community cannot afford.</div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">How can you help: </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Sign their petition -<a href="http://tiny.cc/6norj"> http://tiny.cc/6norj</a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;">Forward to petition to friends and interested parties </div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-DgJs__1-tnw/TqoYrO98BUI/AAAAAAAAAL0/BgPVWvy-5r0/s1600/CA+logo_rgb+byline+WEB.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-DgJs__1-tnw/TqoYrO98BUI/AAAAAAAAAL0/BgPVWvy-5r0/s1600/CA+logo_rgb+byline+WEB.jpg" /></a></div><div class="separator" style="clear: both; text-align: left;"><br />
</div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-35308683846263991202011-06-09T06:48:00.000+01:002011-06-09T06:48:02.290+01:00V&A at Dundee Announces Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee Celebration<div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><b> </b><img border="0" height="316" src="http://1.bp.blogspot.com/-273-ZnNyRvs/Te_pCM12BZI/AAAAAAAAALw/ZVR5ossAHuc/s320/Cecil+Beaton%252C+Queen+Elizabeth+II+with+Prince+Andrew%252C+1960_low+res.jpg" width="320" /></div><br />
<div style="text-align: center;">Queen Elizabeth II with Prince Andrew (Cecil Beaton, 1960)</div><br />
<b>Dundee is to be the first location to host the V&A’s exhibition of portraits of Her Majesty The Queen by photographer Cecil Beaton, to celebrate The Queen’s Diamond Jubilee.</b><br />
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Presenting highlights of the V&A’s archive of Beaton’s royal photography, Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee Celebration will depict The Queen in her roles as princess, monarch and mother.<br />
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The exhibition will run at <a href="http://www.themcmanus-dundee.gov.uk/">The McManus: Dundee’s Art Gallery & Museum</a> from Friday September 30th to Sunday January 8th.<br />
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It is the first in a series of partnership projects between The McManus and the V&A, as part of the pre-opening programme for the V&A at Dundee.<br />
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Cabinet Secretary for Culture and External Affairs <a href="http://www.scottish.parliament.uk/msp/memberspages/fiona_hyslop/index.htm">Fiona Hyslop</a> said, “Part of the £5 million of Government funding that I announced in January included support for the pre-opening programme of exhibitions that will begin with this outstanding selection of Cecil Beaton's royal photography.<br />
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“The V&A will be a stunning landmark building on Dundee's waterfront, and the funding is a reflection of the significance we attach to this project as a showcase for our creative industries and as a magnet for visitors, enhancing Scotland's reputation as a creative nation.<br />
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“I am delighted the programme is starting with such an appealing free exhibition that provides just a foretaste of the unparalleled shows that Scotland will enjoy in future from the V&A.”<br />
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Dundee City Council leisure, arts and communities convener Councillor Bob Duncan said, “I am delighted that this exhibition is coming to Dundee. It will act as an additional attraction to The McManus, which is a hugely popular destination in the city.<br />
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“People of Dundee and further afield are excited at the prospect of the V&A at Dundee, and this exhibition shows how the partnership is already delivering benefits.”<br />
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<a href="http://www.grosvenorestate.com/About/Trustees/Lesley+Knox.htm">Lesley Knox</a>, Chair of Design Dundee Ltd, the company delivering the V&A at Dundee, said, “We are looking forward to an exciting and varied range of exhibitions from the V&A over the next four years as we work towards opening our new building.”<br />
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The images in the exhibition depict The Queen and Royal Family, contrasting highly staged state occasions with intimate family moments. <br />
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The exhibition charts how the representation of the Royal Family has changed and also examines Beaton’s working methods, styles and approaches, revealing him as one of the 20th century’s masters of photography. <br />
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Celebrated photographer, designer and avid diarist, Beaton’s royal portraits were among the most widely published photographs of the 20th century. The exhibition explores Beaton’s long relationship with Queen Elizabeth II, who was a teenage princess when she first sat for Beaton in 1942. Over the next three decades, Beaton photographed The Queen on many significant occasions including her Coronation Day.<br />
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The exhibition in Dundee will feature over 60 items, from wartime photographs of Princess Elizabeth with her family, to tender images of The Queen with her own young children and official portraits that convey the magnitude of her role as Britain’s monarch. It will show elegant and highly-staged photographs alongside informal moments of the royal family at home, interspersed with film and radio footage from the time.<br />
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The exhibition is arranged in five sections documenting important sittings and charting the shift in Beaton’s photographic style, from his early Rococo-inspired portraits to a starker approach in the 1960s. One section will showcase portraits of Beaton himself by his contemporaries.<br />
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An expanded exhibition will be hosted at the V&A in London from February 8th to April 22nd, 2012. The exhibition will then tour around the UK to Leeds City Museum, Norwich Castle Museum and Art Gallery, and Laing Art Gallery in Newcastle.<br />
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<b>Notes to Editors</b><br />
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• The exhibition curator is Susanna Brown, Curator of Photographs at the <a href="http://www.vam.ac.uk/">V&A</a><br />
• The V&A has the oldest museum photography collection in the world and holds the UK’s national collection of photography. The Cecil Beaton collection of royal portraits was bequeathed to the V&A in 1987. It includes 18,000 original prints, transparencies and negatives and 45 volumes of press cuttings.<br />
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<u>Dundee exhibition - dates and venue</u><br />
Friday September 30th to Sunday January 8th<br />
The McManus: Dundee’s Art Gallery & Museum<br />
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Admission Free. Opening times: Mon to Sat 10am - 5pm, Sun 12.30 - 4.30pm. <br />
Thursday late opening until 8pm - specially for the Beaton exhibition run. <br />
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Exhibition organised by the V&A, London in partnership with the V&A at Dundee.<br />
www.themcmanus-dundee.gov.uk <br />
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<u>V&A at Dundee</u><br />
The V&A at Dundee is being delivered by Design Dundee Ltd, a ground-breaking partnership between the Victoria and Albert Museum - the world’s greatest museum of art and design - and Dundee City Council, the Universities of Dundee and Abertay Dundee, and Scottish Enterprise.<br />
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Earlier this year the Scottish Government announced it would provide total capital funding of £3.5 million in 2010/11 and 2011/12 towards the V&A project, with total revenue funding (to cover project running costs) of £1.28 million allocated in 2010/11 and 2011/12. The revenue funding supports staffing, marketing and fundraising for the project, and the development of what goes on inside the building - including the exhibitions that will run before the building is completed.<br />
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<a href="http://www.vandaatdundee.ac.uk/">www.VandAatDundee.com </a><br />
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<u>Exhibition Publication</u><br />
V&A Publishing has produced a hardback book to accompany the exhibition authored by Susanna Brown, with contributions from Sir Roy Strong and Mario Testino. For further press information about the book, contact Julie Chan on 020 7942 2701 or email j.chan@vam.ac.uk (not for publication).Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-66134739171704931712011-06-08T22:10:00.000+01:002011-06-08T22:10:34.920+01:00MS: the big knit<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-LCZW513Bys4/Te_ggylCCmI/AAAAAAAAALk/dZA5AQ6u-oY/s1600/Alison+Thompson_bigknit1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-LCZW513Bys4/Te_ggylCCmI/AAAAAAAAALk/dZA5AQ6u-oY/s200/Alison+Thompson_bigknit1.jpg" width="140" /></a></div>A lot of things happened to day and one of these, was an unexpected surprise from <a href="http://www.rca.ac.uk/">RCA</a> and <a href="http://www.dundee.ac.uk/djcad">DJCAD</a> design graduate Alison Thompson from '<a href="http://www.somehowrelated.co.uk/">Somehow Related</a>'. She got in touch to tell me about her innovative new work. So as with all good news stories, I'm sharing it with you - enjoy! And if you're in London between 7-12 June, why not pop along to see it for yourself?<br />
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<a href="http://www.immunology.org/msthebigknit">Multiple Sclerosis: the big knit</a> was a collaborative knitting science project to promote awareness and understanding of the disease Multiple Sclerosis (MS) by creating a woolly art installation. The installation consists of three tableaux each highlighting a different aspect of MS: the nature of the disease, the role of genetics and the impact of our environment on the disease.<br />
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Knitters from around the United Kingdom were invited to take part in the project, through our website, by knitting elements of the tableaux and sending then in to be included in the final installation. In addition to this open invitation we ran a series of events with knitting and community groups in the Cheltenham area to provide an opportunity for knitters to engage with scientists and discuss MS. Over 70 knitters contributed to the creation of the tableaux, between them knitting over 300 items including brain cells, DNA helices and sunshines.<br />
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This installation has been created for <a href="http://www.cheltenhamfestivals.com/science">The Times Cheltenham Science Festival 2011</a> to support the festival talk ‘MS’ held on Sunday 12 June. During the Festival it will be the centrepiece of a drop-in knitting corner where visitors to the festival could knit their own piece of science, while also acting as the backdrop of presentations by experts in the field of MS research.<br />
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The project engages people with science through the act of creating and via the social nature of knitting. The MS: the big knit art installation will be exhibited at venues around the UK and additional knitting workshops are planned for the future. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-LCZW513Bys4/Te_ggylCCmI/AAAAAAAAALk/dZA5AQ6u-oY/s1600/Alison+Thompson_bigknit1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-LCZW513Bys4/Te_ggylCCmI/AAAAAAAAALk/dZA5AQ6u-oY/s320/Alison+Thompson_bigknit1.jpg" width="225" /></a></div><div style="text-align: center;">DNA and Multiple sclerosis. </div><br />
Each human cell contains approximately 2 m of DNA. In this tableau we’re exploring how all the DNA is packaged so that it fits inside the cell without getting tangled. Secondly we’ve shown some of the mechanisms that are used to control the reading of DNA to make protein, (a process known as transcription) that are thought to be important in MS. These are epigenetic modifications and transcription factors.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-lhi1YClkW-0/Te_hK65sf1I/AAAAAAAAALo/kUnV33jKVcA/s1600/AlisonThompson_bigknit1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-lhi1YClkW-0/Te_hK65sf1I/AAAAAAAAALo/kUnV33jKVcA/s320/AlisonThompson_bigknit1.jpg" width="225" /></a></div><div style="text-align: center;">Multiple sclerosis, the disease. </div><br />
This tableau shows a section of brain, revealing the changes that occur during MS. There is an area of normal tissue, an area of inflammation and demyelination, and finally the scar that is left once all the myelin is removed.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-t5-pxCbPMZY/Te_hkiP5sPI/AAAAAAAAALs/waksfX6NWXg/s1600/AlisonThompson_bigknit3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-t5-pxCbPMZY/Te_hkiP5sPI/AAAAAAAAALs/waksfX6NWXg/s320/AlisonThompson_bigknit3.jpg" width="225" /></a></div><br />
<div style="text-align: center;">Vitamin D and Multiple sclerosis. </div><div style="text-align: center;"> </div>Vitamin D is very complicated, so this tableau represents sources of vitamin D. We’ve got the sun, vitamin D supplements, and two food groups that contain vitamin D: eggs and fish.<br />
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Please visit the project website (www.immunology.org/msthebigknit) for details of these events. Contact: Hannah Hope - project co-ordinator. H.Hope@immunology.org<br />
Alison Thomson – Tableaux designer. alison.thomson@network.rca.ac.uk <a href="http://www.somehowrelated.co.uk/">http://www.somehowrelated.co.uk</a>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-54247362815048563962011-05-16T09:05:00.000+01:002011-05-16T09:05:53.813+01:00Endless End EAD09<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-iVRFWvddnYc/TdDYHxouQ8I/AAAAAAAAALc/cThHiv5gE6Q/s1600/Screen+shot+2011-05-16+at+08.52.35.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-iVRFWvddnYc/TdDYHxouQ8I/AAAAAAAAALc/cThHiv5gE6Q/s1600/Screen+shot+2011-05-16+at+08.52.35.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><a href="http://1.bp.blogspot.com/-xwndMLN0ASg/TdDW9d-isxI/AAAAAAAAALU/i5Ljbx3qE9Y/s1600/endlessend.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-xwndMLN0ASg/TdDW9d-isxI/AAAAAAAAALU/i5Ljbx3qE9Y/s1600/endlessend.jpg" /></a>Earlier this month I was at the <a href="http://endlessend.up.pt/">9th International European Academy of Design</a> conference, at the Universidade do Porto, Portugal. The overarching concept for the event was ‘Endless End’ as, “[t]here is a sense of vertigo permeating contemporary culture as a whole, and design in particular. So much so, that we often find ourselves wondering if design as we have known it still matters. Design seems to have lost its universe of focus, branching exponentially into a multitude of concerns and activities formerly situated well beyond its scope. Likewise, design seems to be the new interest of so many professionals situated outside its area of expertise…”<br />
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6 themes ran through the conference –<br />
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<b>Locality</b> - the role of design in specific social and cultural environments, <br />
<b>Liquidity</b> - design´s redefined and expanding territories <br />
<b>Nomadism</b> - design actively searching for new areas and tools of expertise <br />
<b>Involvement</b> - design as a catalyst for change and progress <br />
<b>Vertigo</b> - envisioning what´s ahead, calibrating past inheritances<br />
<b>Education</b> - how can design be taught in era of multiplicity and open creativity?<br />
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They were not ‘closed’ themes rather they are open-ended, open to transformation.<br />
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<a href="http://1.bp.blogspot.com/-bKXersRtGcw/TdDXgkFB9mI/AAAAAAAAALY/-SNwCjrzhSw/s1600/Screen+shot+2011-05-16+at+08.50.39.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" src="http://1.bp.blogspot.com/-bKXersRtGcw/TdDXgkFB9mI/AAAAAAAAALY/-SNwCjrzhSw/s200/Screen+shot+2011-05-16+at+08.50.39.png" width="200" /></a>It was under the theme of ‘Liquidity’ that I presented the 5-year project ‘<a href="http://www.futurecraft.dundee.ac.uk/">Past, Present and Future Craft Practice</a>’, introducing the team and their research, exposing our craft studies through jewellery, metalwork, textiles, interactive media design and film. I talked about the shift in how we communicate craft, how we value craft and its practitioners and how we invest in its future in a collegiate manner.<br />
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Of interest to the audience was the new visualization method devised as part of the study whereby I looked to investigate effective new ways of communicating craft. Understanding craft practice as a life-world rather than an object or product of making was the direction. Capturing the layers of activity in a person’s life that have affected their thinking - for example, teaching, travelling, writing, making, exhibiting, hobbies/past-times, people – and mapping these over a ten-year period, the visualization of craft practice offered insight into the circumstances and environments that support and/or hinder creative development. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-iVRFWvddnYc/TdDYHxouQ8I/AAAAAAAAALc/cThHiv5gE6Q/s1600/Screen+shot+2011-05-16+at+08.52.35.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://1.bp.blogspot.com/-iVRFWvddnYc/TdDYHxouQ8I/AAAAAAAAALc/cThHiv5gE6Q/s320/Screen+shot+2011-05-16+at+08.52.35.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s1600/Screen+shot+2011-05-16+at+08.53.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">Snapshot of 8 layers of activity within a 5-year timeframe of practitioner 1</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s1600/Screen+shot+2011-05-16+at+08.53.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s1600/Screen+shot+2011-05-16+at+08.53.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="238" src="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s320/Screen+shot+2011-05-16+at+08.53.08.png" width="320" /></a> </div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s1600/Screen+shot+2011-05-16+at+08.53.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">Snapshot of 5 layers of activity within a 4 (out of a 10) year timeframe of practitioner 2 - where people, teaching, designed objects, exhibitions and writing are key to craft practice</a><a href="http://3.bp.blogspot.com/-Rfex-J2RQQw/TdDYMO6LXqI/AAAAAAAAALg/Ljd_TRLkUnY/s1600/Screen+shot+2011-05-16+at+08.53.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a></div><br />
In addition, the craft as mindful inquiry study suggests an opportunity to re think how we categorise craft, positioning a classification system that doesn’t heavily rely on the issue of materiality but focuses on its cultural significance, thereby offering an approach to knowledge exchange that transcends subject and discipline specialisms – for example, positioning craft as a social, political and/or meditative product. <br />
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Questions after the presentation are always critical to the development of a researcher’s ideas and theories. The one that has lingered was from Professor Mike Press who asked, ‘what is the significance of your method and methodology to other disciplines, including design?” It seems an obvious question to ask, but one that no-one has, til now. My response noted 'progressiveness' as the generic issue - how a person, not just crafts people, can measure and improve their performance, levels of creativity and innovation. However, there remained a ‘niggle’. Upon further reflection, I realise that the various research outputs we have successfully delivered (for example the book, website and research papers) give some insight, but the ‘significance’ has yet to be discussed, directly…So, I seem to have found a next step for my research and understanding of its impact!Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-30876370364223985652011-04-27T15:57:00.000+01:002011-04-27T15:57:36.647+01:00A NATIONAL CELEBRATION OF CRAFT IN SCOTLAND<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-vcZQLhlaG-A/TbgsK9eN6dI/AAAAAAAAAK0/RwmZ5gGos24/s1600/17-23-27-CFSlogo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-vcZQLhlaG-A/TbgsK9eN6dI/AAAAAAAAAK0/RwmZ5gGos24/s1600/17-23-27-CFSlogo.jpg" /></a></div><style>
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<span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Craft Festival Scotland 2011 turns the spotlight onto craft in Scotland during the month of May with more than 40 exceptional exhibitions, workshops and open studio events happening across the country.</span> <div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The national festival is an opportunity to enjoy the diversity of craft in Scotland and create an inspirational memory from visiting artists’ studios in Fife, Dumfries & Galloway and West Kilbride. It offers the chance to see and buy quality work by leading international artists working in glass, silver, textiles, wood and metal. It also presents fun ways to learn about making and, stimulating interactions with beautiful objects.</span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-fdpNvBpmYJs/TbgsWBGzthI/AAAAAAAAAK8/Ty1xykxp67s/s1600/13---72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-fdpNvBpmYJs/TbgsWBGzthI/AAAAAAAAAK8/Ty1xykxp67s/s1600/13---72.jpg" /></a><a href="http://3.bp.blogspot.com/-1MF8no44ejo/TbgsTAQ2-PI/AAAAAAAAAK4/9LYM93eyXGc/s1600/6---72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-1MF8no44ejo/TbgsTAQ2-PI/AAAAAAAAAK4/9LYM93eyXGc/s1600/6---72.jpg" /></a></div><br />
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<div class="MsoNormal"><span style="font-family: Arial;"></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">The festival, now in its second year, aims to showcase the imagination and inventiveness of craft in Scotland. The 2011 programme includes a unique exhibition of glassworks inspired by Perth museum’s reserve collections. It is a ground-breaking collaboration with the Scottish Glass Society and a number of contemporary glass artists have produced new creations for display alongside the original artefacts. Other exhibitions include solo shows by artist and maker Lizzie Farey and her extraordinary work with Scottish willow, Alison McConachie, glass, Sara Keith, textiles, Patricia Niemann, jewellery, Jeanette Sendler, textiles, Annica Sandström and David Kaplan, glass, mixed shows at the Collins Gallery, Gallery Q and Roger Billcliffe Gallery, and work by the latest graduates from Duncan of Jordanstone College of Art & Design University of Dundee, Edinburgh College of Art and Gray’s School of Art, Robert Gordon University.</span></div><div class="separator" style="clear: both; text-align: center;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-TahF7Tm9qBA/Tbgse2aSABI/AAAAAAAAALE/PQUJD6BI9nI/s1600/Junko+Mori+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-TahF7Tm9qBA/Tbgse2aSABI/AAAAAAAAALE/PQUJD6BI9nI/s1600/Junko+Mori+copy.jpg" /></a><a href="http://1.bp.blogspot.com/-haMpMH81h5Q/TbgsZ41u3mI/AAAAAAAAALA/jvMORXxIXQo/s1600/29---72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-haMpMH81h5Q/TbgsZ41u3mI/AAAAAAAAALA/jvMORXxIXQo/s1600/29---72.jpg" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There are fascinating objects and experiences to be discovered across the country, such as Ballet to Remember by Maria Militsi in Inverness Art Gallery, which is on loan from the Crafts Council Collection and featured in the BBC’s popular A History of the World in 100 Objects. </div><span style="font-family: Arial;"><span style="mso-spacerun: yes;"></span></span> <div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Festival attractions include:</span></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">A Passion for Glass at National Museum of Scotland is a dazzling selection of 140 objects by over 100 glassmakers spanning more than four decades, from the 1960s up to 2009.<span style="mso-spacerun: yes;"> </span>The works are part of a collection of modern glass recently gifted to National Museums Scotland by Alan J Poole and the late Dan Klein, world authorities in the field of 20th century studio glass.<span style="mso-spacerun: yes;"> </span>A number of objects will be used to explain many of the different processes involved in studio glass. 20 May - 11 Sept 2011</span></div><div class="MsoListParagraphCxSpMiddle"><br />
</div><div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Turned & Twisted at Inverness Art Gallery is an exhibition of international works from the Craft Council Collection where thoughts, ideas and materials, have been twisted and turned to create amazing, unusual, unsettling, surprising, amusing and unexpected objects.<span style="mso-spacerun: yes;"> </span>The choice of work was influenced by the use of techniques and materials by four Highland makers – Jennifer Cantwell, textiles, Caroline Dear, fibre, Patricia Niemann, jewellery, and Nick Ross, product design – who will show new experimental work in a series of solo exhibitions at the same venue. Turned & Twisted: 30 April – 2 July 2011. Patricia Niemann - Making Progress Spotlight Exhibition 30 April - 28 May 2011 </span></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraph" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Dundee Degree Show 2011: 21 - 29 May 2011; <br />
Edinburgh College of Art Fashion Shows: 4 - 6 May 2011; <br />
Intervention at Provost Skene’s House by third year students, 3D Design, Gray’s School of Art: 7 May – 30 June 2011</span></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraph" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Metalworks! at Aberdeen Art Gallery showcases the versatility of metalworking with historic silver and modern metalwork from their collection and the Goldsmiths’ Company Collection featuring leading British makers such as Gerald Benney, Junko Mori and Chris Knight. 19 March 2011 – 3 March 2012 Free</span></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraph" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Open Studio Events - Angus Open Studios: 26 - 30 May 2011, Spring Fling: 28 - 30 May 2011, Open Studios North Fife: 6-8 May 2011, West Kilbride - Craft Town Scotland Studios: May </span></div><div class="MsoNormal"><br />
</div><div class="MsoListParagraph" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;"><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Trove, an exhibition by the Scottish Glass Society, in partnership with Perth Museum and Art Gallery, shows new artworks by 25 glass artists that reveal the hidden treasures of the museums reserve collection.<span style="mso-spacerun: yes;"> </span>28 March - 31 December 2011</span></div><div class="MsoListParagraph" style="text-indent: -18pt;"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Craft Festival Scotland is a new national initiative led by Duncan of Jordanstone College of Art & Design, University of Dundee and in 2011, it is supported by HI-Arts Craft Development in partnership with Highland Council Exhibitions Unit and RIO (Really Interesting Objects).</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">Full festival programme at: <a href="http://www.dundee.ac.uk/djcad/cfs2011/events">www.dundee.ac.uk/djcad/cfs2011/events</a></span></div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";">For updates on new events in May: <a href="http://www.facebook.com/CraftFestivalScotland">www.facebook.com/CraftFestivalScotland</a></span></div><div class="MsoNormal"><span style="font-family: Arial; mso-bidi-font-family: "Times New Roman";"> <a href="http://twitter.com/craftfestscot">http://twitter.com/craftfestscot</a></span></div><div class="MsoNormal"><br />
</div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-4677939593137903602011-04-21T06:00:00.000+01:002011-04-21T06:00:12.203+01:00DIRECTOR APPOINTED TO `V&A AT DUNDEE’ PROJECT<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-wdO_IkPdJaE/Ta-5wK25aeI/AAAAAAAAAKw/_DY2X82bqps/s1600/_52281406_philiplong.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-wdO_IkPdJaE/Ta-5wK25aeI/AAAAAAAAAKw/_DY2X82bqps/s1600/_52281406_philiplong.jpg" /></a></div> Mr Philip Long has been appointed as the Director of the V&A at Dundee. Mr Long is currently Senior Curator of the Scottish National Gallery of Modern Art and leads the National Galleries of Scotland's Artist Rooms project. As Director of the V&A at Dundee he will lead the project to establish an international centre for design on the banks of the river Tay.<br />
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“I am delighted that we have been able to appoint Philip Long as Director for the V&A at Dundee,” said Lesley Knox, Chair of Design Dundee Ltd, the company delivering the V&A at Dundee.<br />
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“This is a very significant moment for the project. Philip Long has an outstanding background in culture and the arts, particularly in relation to museums and galleries, and he is the ideal person to take our project forward.” Sir Mark Jones, Director of the Victoria and Albert Museum, said, “We are delighted that Philip Long has agreed to become Director of the V&A at Dundee. His great knowledge of and enthusiasm for twentieth century and contemporary design, and his proven talent for communicating contemporary art to a wide public are just what is needed for this exciting project.”<br />
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Philip Long said, “It is an honour to have been appointed to lead the V&A at Dundee to reality. The design for the new museum is superb, and the idea for the project is inspirational. V&A at Dundee will be international in ambition, and will rightly celebrate the vital part Scotland has played in design history, as well as being a focus for design-led innovation and opportunity in our country.”<br />
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Philip Long has been Senior Curator of the Scottish National Gallery of Modern Art since 1998. Since 2008 he has been responsible for leading the National Galleries of Scotland’s Artist Rooms project, which in collaboration with Tate brings exhibitions of international contemporary art to museums and galleries across the UK. As an acknowledged expert in Scottish art and design, Philip Long has organised exhibitions and written highly praised publications on William Gillies, Anne Redpath, the Scottish Colourists, Charles Rennie Mackintosh, and on the architect Basil Spence. From 2003-10 he served on the Scottish Arts Lottery Committee and in 2007 was invited to curate Scotland’s national representation at the Venice Biennale. Most recently, he worked with the artist Antony Gormley to develop a major public artwork installed across Edinburgh.<br />
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The V&A at Dundee is being delivered by Design Dundee Ltd, a ground-breaking partnership between the Victoria and Albert Museum - the world’s greatest museum of art and design - and Dundee City Council, the Universities of Dundee and Abertay Dundee, and Scottish Enterprise.<br />
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Design Dundee Ltd is aiming to create a landmark building, which will be sited at Craig Harbour right on the banks of the River Tay. The site is being made available through the Dundee Central Waterfront Partnership, the joint venture between Dundee City Council and Scottish Enterprise which is revitalising the prime area of land linking the city centre with the River Tay. An international design competition for the V&A at Dundee building was won by the Japanese practice Kengo Kuma & Associates. The building will create a world-class public space that celebrates the creative culture of design, the evolution of design, its role in our lives, its economic impact and its commercial relevance.<br />
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<div class="separator" style="clear: both; text-align: center;"></div><a href="http://www.vandaatdundee.com/">www.VandAatDundee.com </a>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-44842803724740715212011-04-03T16:47:00.002+01:002011-04-03T16:56:47.185+01:00London on the Weekend - yohji yamamoto and the cult of beautyFor the past year I have been part of the Product Team for the <a href="http://www.vandaatdundee.com/">V&A at Dundee</a> project. As you would hope it's a dynamic project with many interesting facets. This weekend, in my mind, was a particularly important milestone as the touring exhibition of the architectural designs for the V&A at Dundee building, is displayed in <a href="http://www.vam.co.uk/">V&A South Kensington</a> in London (until 15 May, 2011). <a href="http://www.rca.ac.uk/Default.aspx?ContentID=507540&groupID=507540">Professor Paul Thompson</a>, Rector of <a href="http://www.rca.ac.uk/">Royal College of Art</a> and<a href="http://investor.alliancetrust.co.uk/ati/investorrelations/knox.jsp"> Lesley Knox</a>, Chairman of the Alliance Trust and Dundee Design Ltd (the charitable organisation established to make V&A at Dundee happen) spoke of the significance of the initiative and the quality of <a href="http://www.kkaa.co.jp/">Kengo Kuma</a>'s architectural design. Professor Thompson gave insight into the exhibitions that would be travelling to Scotland in the pre-opening (2011-2014) and post-opening (2015-17) periods and, Lesley Knox looked to the future where Dundee would be known for the 3 D's - Design, Digital and Discovery.<br />
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For me the excitement of V&A at Dundee was also to be found in the atmosphere of V&A London on Friday evening. It was filled with an array of positive noise and energy - the place was simply alive with people socialising! It was a stark statement and one couldn't help but be impressed by the achievements of the V&A who have transformed the concept of a museum and changed people's perceptions of what a museum is in the 21st century. Who knew ten years ago that we'd be saying 'Let's have a night out at the museum on Friday!'<br />
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As well as the architectural design display, the delights of the V&A included a spectacular retrospective of fashion designer <a href="http://www.vam.ac.uk/collections/fashion/yohji-yamamoto/index.html">Yohji Yamamoto</a> (- over 80 garments form the last 30 years). The breadth and depth of Yamamoto's portfolio is jaw dropping. Being up close and personal with design of such deep integrity was inspirational. His attention to detail and his approach to playfulness is really special.<br />
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A sensational history lesson via <a href="http://www.vam.ac.uk/exhibitions/future_exhibs/aestheticism/index.html">The Cult of Beauty</a> exhibition was also enjoyed. Indeed, I don't recall the last time I had such a meaningful conversation with colour, be it subtle, sympathetic, bold or mischievous. And whether you love or loathe the aesthetic movement 1860-1900 (e.g. the work of Lord Leighton, Albert Moore, John Everett Millais, John Ruskin, Dante Gabriel Rosetti) it has a lot to teach us, still.<br />
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Two different design commentaries, both utterly inspirational.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-18095664382817815972011-03-08T15:33:00.000+00:002020-07-16T11:53:50.843+01:00THE WORLDʼS FIRST GLOBAL SERVICE JAM48 HOURS, 27 COUNTRIES AND 3000 PARTICIPANTS!<br />
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Global Service Jam is a global event focused on customer experience and service. In the spirit of experimentation, co-operation and friendly competition, teams from Sydney, Tokyo, Shanghai, Istanbul, Cape Town, Sao Paulo, Valencia, Berlin, London, Toronto, Calgary, New York, San Francisco and Glasgow will have 48 hours to develop brand new services inspired by a shared theme.<br />
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On March 11‐13th in The Lighthouse in Glasgow, Global Service Jam Scotland will be a high-energy, collaborative & freeform event, in which some of the brightest minds in Scotland will get together to design new services in parallel with a whole host of jams across the world.<br />
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The participants are a made up of a good mix of creatives, service designers and industry, public sector & service experts and we will be using social media channels so that anyone in Scotland can participate; they donʼt have to be physically present.<br />
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Global Service Jam originates from Nuremberg. It is a non-profit activity organized by an international network of service designers, who all share a common passion for growing the field of service design and customer experience.<br />
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Are we doing something that has never been done before? YES<br />
Log on to http://www.gsjamscotland.org.uk/<br />
<br />Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-54150631063581525992011-03-04T08:26:00.000+00:002011-03-04T08:26:55.102+00:00Craft in Scotland – a reflection on the first Decade of the 21st Century<style>
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<div class="MsoNormal">by Tina Rose,</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: xx-small;">NB Long Post</span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">This post is in response to my observation that there is a paucity of annual reflection on craft or record of achievement, for as observed by Paul Greenhalgh (2007) ‘<i>history provides the CV of a discipline......the seriousness with which a discipline is regarded flows heavily from how it’s been dealt with historically</i>’.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">As Dr Helen Bennett, Portfolio Manager Creative Industries-Partnerships at Creative Scotland (formally Head of Crafts, Scottish Arts Council 1993-2010) retires, it seems appropriate to look back, and remember what has happened over the first decade of the 21<sup>st</sup> century. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Although familiar arguments are always raised when you talk about craft in Scotland, there is no doubt we are making progress. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The decade began with the Scottish Arts Council working in partnership with Scottish Enterprise to carry out socio-economic research of the sector in Scotland and from this they developed a five year craft strategy 2002-07. It created a framework for the direction of funding to support individual professional development and exhibitions, which hopefully will be reflected in the business plan of the new Creative Scotland.<span> </span>As Helen said in her retirement speech, when she started in the new role there were only two people working to support makers, now there is a network of people across the country. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">One of the most significant outcomes has been the creation of a national web resource, craftscotland, launched as an independent organisation funded by the Scottish Arts Council at the Challenging Craft conference at Robert Gordon University in Aberdeen in 2004. This was one of two international conferences held in Scotland over the decade, an impressive achievement for a small country.<span> </span>The second international conference – <a href="http://www.newcraftfuturevoices.com/">New Craft, Future Voices</a> - took place in 2007 as part of <a href="http://www.futurecraft.dundee.ac.uk/">PPFCP</a>.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">craftscotland has grown steadily since it was established to promote the best of Scottish craft, reaching its targets to first establish the website with a maker and venue directory and craft news, then hold exhibitions in the UK and internationally with Scottish craft now represented at Collect in London.<span> </span>In 2008 there was a change of title as it became the first national audience development agency for craft, offering marketing opportunities to makers through special campaigns and collaborations. <a href="http://www.craftscotland.org/">www.craftscotland.org</a> </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There have been many significant anniversaries marked over the past decade which illustrate the strength and vitality of craft organisations in Scotland.<span> </span>The Scottish Potters Association celebrated its 30<sup>th</sup> anniversary in 2004, and the Scottish Glass Society also reached 30 years in 2009, with the 400<sup>th</sup> anniversary of Scottish glass in 2010.<span> </span>In 1995 North Lands Creative Glass in Lybster celebrated 10 years as an international centre for excellence in glass continuing to run an international series of masterclasses and conference every year. <a href="http://www.northlandsglass.com/">www.northlandsglass.com</a> </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Cove Park in Argyll, the international centre for the arts and creative industries, founded in 1999, has grown over the decade and now enables makers to research and develop new projects through craft residencies. <a href="http://www.covepark.org/">www.covepark.org</a> </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Another fascinating development has been the growth of open studio events.<span> </span>From a few sporadic individual events it has become a regional activity; indeed anyone travelling to every event would be likely to find over the year that they would have visited almost every part of Scotland.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Of course, it is not all good news.<span> </span>There was the sudden and dramatic closure of An Tuireann on Skye, the loss of Applied Arts Scotland, the only national independent voice for makers, and there is still no replacement for Artisan, the national selling event last held in 2002. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">And there were sad losses, in particular Dan Klein, who will be remembered not only for the establishment of North Lands Creative Glass but also through the gift of his and Alan Poole’s glass collection to National Museums Scotland.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">It is impossible to mention all the exhibitions, or the accomplishments of individual makers over the decade, but some achievements need to be recognised.<span> </span></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">The memorable and wonderfully innovative Big Willow installation in 2007 on the Brahan Estate by American artist Patrick Dougherty working with members of the Scottish Basketmakers Circle, which happened because of the imagination of Valerie Pragnell.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The showcase of Scotland’s indigenous crafts during the Smithsonian Folklife Festival in Washington DC which was attended by several million US tourists. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">And Silver of the Stars, a collection of contemporary Scottish silver made by some of Scotland’s finest silversmiths in collaboration with famous names from film, fashion, theatre, music and literature, which has been touring since 2007.<span> </span>Organised by the Incorporation of Goldsmiths of the City of Edinburgh it has travelled over 30,000 miles around the world, been seen by more than half a million visitors in the UK, USA, Canada, Russia, China and Japan, and is now touring Europe. It was also in Silver: Made in Scotland at the National Museum of Scotland in 2008 which celebrated the 550th anniversary of hallmarking in Scotland <a href="http://www.silverofthestars.com/">www.silverofthestars.com</a> </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">However, as well as taking Scottish craft around the world, there have been imaginative collaborations which have brought European and international craft to Scotland. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In 2005 Maker-Wearer-Viewer curated by Jack Cunningham showed the work of over 70 contemporary narrative jewellers from 20 European countries. In the same year at the Collins Gallery East Weaves West brought together basketry from Japan and Britain showing for the first time over one hundred and ten artworks by forty seven leading makers.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Fife Contemporary Art & Crafts in St Andrews (formed in 2006 after the closure of the Crawford Arts Centre) created an exhibition in 2009 of international contemporary jewellery in collaboration with Galerie Marzee in The Netherlands. At a dinner prominent Fife individuals wore jewellery selected for them and were then filmed talking about their responses to the pieces which were exhibited at place settings <a href="http://www.youtube.com/user/fifecontemporary%23p/u/5/jPZNcS31QqY">www.youtube.com/user/fifecontemporary#p/u/5/jPZNcS31QqY</a><span> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Shetland Arts researched the work of artists and designers in northern Europe to explore the concept of portage in terms of transporting and exhibiting artwork in a remote island location which resulted in three exhibitions in 2010; Crossing Points, Textiles, extremes of scale and Finger Symbols with an imaginative film of the work <a href="http://www.shetlandarts.org/portage-finger-symbols-film-exhibition-preview/">www.shetlandarts.org/portage-finger-symbols-film-exhibition-preview/</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Initiated by Past, Present and Future Craft Research at the University of Dundee, galleries and organisations across the country worked together for the first national festival of craft, Craft Festival Scotland 2010, featuring 101 exhibitions and events. <a href="http://www.futurecraft.dundee.ac.uk/">www.futurecraft.dundee.ac.uk</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The opening of the new Dovecot in Edinburgh’s Infirmary Street in 2008 not only created a stunning focus for textiles but also a new exhibition space.<span> </span><a href="http://www.dovecotstudios.com/">www.dovecotstudios.com</a> Working with IC:Innovative Craft, which was launched in 2005 to explore different ways of celebrating excellence and imagination in craft in Scotland and internationally, there has been a programme of unforgettable exhibitions, in particular the maker/curator series in 2010.<span> </span>This important development gives craft its rightful place in the arts scene in Scotland and also strengthens the position of Scottish craft as a serious player in the international craft world. </div><div class="MsoNormal"><a href="http://www.innovativecraft.org/">www.innovativecraft.org</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Looking at what has happened to craft in Scotland over the past decade through the work of talented, enthusiastic and creative individuals and groups, working locally, nationally and internationally, there are some amazing achievements, and looking forward to initiatives such the V&A arriving in Dundee, there are many more to come.</div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><u>Reference</u></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Greenhalgh, P. (2007) In, Valentine, L. and Follett, G. [eds.] (2010). <i>Past, Present and Future Craft Practice</i>. Edinburgh: National Museums Scotland Ltd.</div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com2tag:blogger.com,1999:blog-24391203.post-24897046513600544192011-01-29T10:14:00.002+00:002011-01-29T12:13:21.226+00:00Canada Research Chair in Applied Creativity<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUPoEmII34I/AAAAAAAAAKE/ydWPzzHsEDw/s1600/default.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUPoEmII34I/AAAAAAAAAKE/ydWPzzHsEDw/s1600/default.jpeg" /></a></div>Advancing the visual arts.The Nova Scotia College of Art and Design (NSCAD University) invites applications and nominations for: <b> </b><br />
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Canada Research Chair (Tier 2) in Applied Creativity<br />
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Subject to budgetary and final approval by the Board of Governors, this is an Assist. Prof. tenure track appointment governed by the Collective Agreement, which commences July 1, 2011.<br />
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<b>REVIEWS BEGIN</b><br />
January 15, 2011 and will continue for the next few weeks<br />
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We believe that teaching and learning in the visual arts must be centred on a practice-led ethos that encourages interaction between disciplines and across cultures, seeking to equip graduates with the skill of sustaining and renewing knowledge throughout their careers. Our graduates succeed because they are open to indeterminate situations and are able to apply their creative skills to current and future, social and personal, issues and problems. We are seeking a fellow faculty member who shares our interest and passion for practice-led inquiries into the nature of creativity and can collaboratively advance research in fine and media arts, craft and design studio practice.<br />
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The successful candidate will demonstrate the potential to achieve international recognition in the area of practice-based interdisciplinary creative research. Working in the Institute of Applied Creativity (<a href="http://nscad.ca/site-nscad/media/nscad/strategicplan.pdf">http://nscad.ca/site-nscad/media/nscad/strategicplan.pdf</a>), s/he will mobilize established studio and academic strengths within NSCAD and participate in local and regional research networks.<br />
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<b>APPLICANTS</b><br />
Candidates for this position should hold a graduate degree (PhD, MFA or MA, MArch, MDes), teaching experience and creative research profile. Applications will be reviewed with interviews via Skype starting January 15, 2010 and at CAA 2011 until a candidate is chosen. All qualified applicants are encouraged to apply; however, Canadian citizens and permanent residents will be given priority. Hiring will be in accordance with NSCAD University’s policy on non- discrimination. The application must include the following: a statement outlining qualifications for this position, a portfolio of professional work, a research plan, a curriculum vitae, a sample of relevant published writing, and the names and contact information of three referees. The University will seek permission from the applicant before contacting the referees.<br />
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<b>DIRECT APPLICATIONS TO</b><br />
James Moy, Provost and Vice-President Office of Academic Affairs and Research NSCAD University 5163 Duke Street, Halifax, Nova Scotia, B3J 3J6 phone: 902 494 8125 fax: 902 425 4664 NSCAD University Founded in Halifax in 1887, NSCAD University is an international centre of excellence for the study, practice, and teaching of the visual arts. NSCAD University offers Master of Design and Master of Fine Arts degrees along with Bachelor of Art in Art History, Bachelor of Design degrees in Interdisciplinary Design, and Bachelor of Fine Arts degrees in Ceramics, Film, Fine Art, Interdisciplinary, Intermedia, Jewellery and Metalsmithing, Photography, and Textiles.<br />
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For more information, please visit www.nscad.ca.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-63068130404546855402011-01-28T10:52:00.000+00:002011-01-28T10:52:12.010+00:00Willow Fuelled with Emotion<style>
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUKeoftB_aI/AAAAAAAAAJ8/lcYHaknjkv4/s1600/Aerie+Lizzie+Farey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUKeoftB_aI/AAAAAAAAAJ8/lcYHaknjkv4/s200/Aerie+Lizzie+Farey.jpg" width="150" /></a></div><br />
<div class="MsoNormal"><a href="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUKernwyyLI/AAAAAAAAAKA/12aIoQIACkk/s1600/When+I+Think+Of+You+Lizzie+Farey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/_RhlJ83CsHoI/TUKernwyyLI/AAAAAAAAAKA/12aIoQIACkk/s200/When+I+Think+Of+You+Lizzie+Farey.jpg" width="167" /></a>Willow artist Lizzie Farey describes a calmness that feeds her work, which comes from her connection with the natural materials, and this sense of restfulness and harmony is tangible in her new exhibition Spirit of Air: Inscriptions.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The solo exhibition, which began in Gracefield Art Centre a year ago, then visited Piece Hall in Halifax, is now at the City Art Centre in Edinburgh, and the final venue has given her a chance to create several new large scale pieces.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lizzie is one of an increasing group of artists, such as Joanna Gilmour, Dale Behennah and Anna S King, who are pioneers in the way they are exploring the creative potential of fibre as a means of expression. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Internationally recognised for her stunning sculptural baskets and forms, she felt there was a conflict between her desire for creativity and the functional view of basketmaking.<span> </span>While visiting Japan she had experienced the Japanese aesthetic of beauty and simplicity, and a Scottish Arts Council (now Creative Scotland) Creative Development Grant gave her the time to develop her new ideas and freely explore the beauty of willow.<span> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In these new large scale wall pieces she seems to draw with willow, each strand like the line of a pencil. <span> </span>“Ideas and thoughts, like migratory birds, arrive in my head” she explains.<span> </span>“I start out thinking I’m going to make birds or figurative work, but my hands come back to shapes that haunt me; the willow must follow its course”. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Her work is fuelled with the intensity of thought during its creation.<span> </span>Describing the darker emotion behind the piece Sospiri she says “It is about winter and a kind of sorrow that I experience when the light fades.<span> </span>It is a very sad piece but redeemed by one willow leaf coated in gold leaf which represents the hope that is always there.”</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">At the exhibition opening Professor Simon Olding, Director, Craft Study Centre, Farnham, said “Her work is touched with respect for organic materials and yet it challenges that material to the limits of endurance.<span> </span>She does this with a compelling modesty and subtle force.<span> </span>She finds the telling contrast of stillness and motion; of solidity and airiness.<span> </span>I think this may have as much to do with the tranquillity of the elegant landscape of Dumfries & Galloway as to an oriental sense of calm.”</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">He also interestingly referenced Bruce Chatwin’s novella Utz when the author remarked ‘in any museum, an object dies of suffocation and the public gaze – whereas private ownership confers on the owner the right and the need to touch....(this touch) restores the object to life’.<span> </span>Simon believed this to be untrue, saying “In the museum we are in the public square: and the value of the public square lies in its openness, its civic freedom and its accessibility. <span> </span>In this public square, the artist and the museum confer the right to view, the right to private reflection and the right to public discourse.<span> </span>These are the marks of civilisation.”</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This reference to public access has a resonance for the new work by Lizzie, who was commissioned to create a temporary installation for the City Art Centre - Aerie, a nest-like sculpture created from hundreds of individual willow stems - and has been commissioned to create wall pieces for other large public buildings.<span> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This is an exhibition of artistry.<span> </span>The work is graceful and majestic, while beautifully emotional.<span> </span>It is willow in the 21<sup>st</sup> century.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Spirit of Air: Inscriptions by Lizzie Farey, City Art Centre, 2 Market Street, Edinburgh EH1 1DE until 27 February 2011. Open Mon-Sat 10am-5pm, Sun 12-5pm, Free.<span> </span><a href="http://www.lizziefarey.co.uk/">www.lizziefarey.co.uk</a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">by Tina Rose</div><div class="MsoNormal"> </div><div class="MsoNormal">For further reading about Tina Rose, visit: <a href="http://www.craftscouncil.org.uk/crafts-magazine/latest-issue/feature/2">http://www.craftscouncil.org.uk/crafts-magazine/latest-issue/feature/2</a></div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-318926211381630442010-12-14T16:46:00.000+00:002010-12-14T16:46:52.036+00:00Twelve Vessels of Life, Love and Death<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_RhlJ83CsHoI/TQedl0svwZI/AAAAAAAAAJs/ljczAsFhq8c/s1600/ML+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/_RhlJ83CsHoI/TQedl0svwZI/AAAAAAAAAJs/ljczAsFhq8c/s1600/ML+1.jpg" /></a></div> <span style="font-size: xx-small;"> Top Image: January's Bowl by Michael Lloyd; photo by Nick Duxbury</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_RhlJ83CsHoI/TQedpn-iYwI/AAAAAAAAAJw/v58mO0Xw1g0/s1600/ML+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/_RhlJ83CsHoI/TQedpn-iYwI/AAAAAAAAAJw/v58mO0Xw1g0/s1600/ML+3.jpg" /></a></div><o:p></o:p> <span style="font-size: xx-small;"> Bottom Image: Sketches for January's Bowl by Michael Lloyd; photo by Nick Duxbury</span><br />
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</div><div class="MsoNormal">Exhibition review by Tina Rose</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><o:p></o:p>When I was asked to write about the Twelve Vessels, a beautiful exhibition of hand raised and chased silver vessels by Michael Lloyd, I felt rather overwhelmed, as it is an experience which is difficult to express in words.<span> </span><span> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Michael had wanted for a while to create a series of twelve vessels – one for each month – expressing his love of nature and reflecting the profound events that mark our lives of birth, love and death.<span> </span>He approached eleven individuals, couples and families who were part of his life including friends, curators, fellow makers and patrons, and invited them to be part of his idea and to choose a time of year.<span> </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Over the next 18 months he observed the seasons, drawing nature, and in conversation with each of the patrons gathered the strands of relationships, family and the circle of life, to create an individual vessel for each one.<span> </span>Each has its own individual form and imagery, and also, in his words, is ‘honouring the preciousness of memory’.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In the exhibition a fabric hanging by each of the vessels reveals the patron and the memories that led to their choice of month – stories of births, deaths, love and survival - which are delicately and intelligently captured within the simple form of a vessel, a symbol of sharing, nourishment, and contemplation.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">It is a very personal show, both for the artist and the people who shared their lives. Each person looking at these vessels will connect in a different way, as the stories will have a different resonance in their life.<span> </span>It is particularly touching that there are actually thirteen vessels, as Michael surprised Mary and Olivier Michel with a second piece to mark the arrival of a new baby, Matilda.<span> </span>The couple had chosen a quotation from Norman McCaig for their vessel for their son Louis, which they felt summed up the arrival of a new baby, and he split this over the two vessels ‘Something has been completed that everything is part of, something that will go on being completed forever’.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">At the <a href="http://www.newcraftfuturevoices.com/">New Craft Future Voices</a> International Conference in 2007 (<a href="http://www.futurecraft.dundee.ac.uk/">transcript in PPFCP publication</a>) Paul Greenhalgh, director and president of the Corcoran Gallery of Art and Corcoran Gallery of Art and Design puts forward the concept of Craft and the New Humanism.<span> </span>He suggests there are two constituencies to craft, one of which is poetry (the other political), and says ‘Many within the craft disciplines engage in poetic discourse: they are about the making of physical things that engage the intellect and the emotions.<span> </span>We should simply recognise this and desist from further categorisation.<span> </span>If it works as poetry, it works.’</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There is a peacefulness, honesty and beauty to this exhibition which is born from experience, skill, imagination and character.<span> </span>It has a spiritual poetry which could only have been created by Michael Lloyd.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The exhibition was hosted by IC: Innovative Craft and Dovecot, and supported by Creative Scotland and the Incorporation of Goldsmiths of the City of Edinburgh. A full catalogue been published to accompany the exhibition and is available from IC: Innovative Craft cost £10 + £2 P+P by emailing or sending a cheque payable to IC:Innovative Craft or they are available in the Dovecot Shop. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Tina Rose, December 2010 </div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com1tag:blogger.com,1999:blog-24391203.post-83154333010477596632010-12-01T13:15:00.000+00:002010-12-01T13:15:57.748+00:00Research Assistant: Sustainability, Invention and Energy Demand Reduction<b>Brilliant New Opening at Goldsmiths University of London</b><br />
<br />
<b>The Role</b><br />
Working with the Departments of Design and Sociology you will contribute to a project on the co-design of energy demand reduction technologies and communities of practice. Based within the Department of Design, you will be joining the: Sustainability, Invention and Energy Demand Reduction project. This is run collaboratively by the Interaction Research Studio and Centre for the Study of Invention and Social Process (Sociology) with funding from the Economic and Social Research Council (ESRC). As part of the team you will play an active role in designing and implementing research materials, proposals and presentations, as well as field research with groups of volunteers in the UK. Opportunities may also arise to become involved in other studio projects on an ad hoc basis. <br />
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You will have a BA or MA in Design (or a related discipline), or equivalent experience. You should have a design background, preferably in interaction or product design or a related discipline. You will enjoy practice-based research and be passionate about exploring new paths for technology. <br />
<b><br />
The Departmen</b>t<br />
Over recent years there has been an increasingly energetic dialogue between Design and Social Science disciplines. Much of this dialogue has been aimed at enabling mutual understanding, identifying shared intellectual interests, and exploring common frames of reference. The Interaction Research Studio and the Centre for the Study of Invention and Social Process have been at the forefront of these developments.<br />
<br />
To apply online and for further information see: http://tiny.cc/9405q<br />
<br />
<b>Job Details</b><br />
Part-time (0.8fte) Research Assistant (Design Focus)<br />
<br />
Reference Number SOC000014<br />
Department Design and Sociology<br />
Type of Contract Fixed-Term<br />
Full Time/Part Time Part Time<br />
Interview Date Tuesday 18 January 2011<br />
Closing date for applications 3 January 2011<br />
<br />
From: £29,953 to £30,773 pa incl LW (pro rata)<br />
<br />
Fixed-Term until 31 December 2013<br />
Start date: As soon as possibleLouise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-21086265118333347212010-11-04T12:15:00.000+00:002010-11-04T12:15:50.102+00:00V&A at Dundee - design competition winner announced<div class="intro clearfix"> <div class="image"> <img alt="V and A design - Kengo Kuma" src="http://www.abertay.ac.uk/media/V%20and%20A%20design%20-%20Kengo%20Kuma.JPG" style="height: 137px; width: 420px;" /> </div></div><div class="entry-content"> The Japanese architectural practice <a href="http://vandaatdundee.com/your-future/shortlist/kengo-kuma/" target="_blank" title="Opens new window">Kengo Kuma & Associates</a> has been named the winner of the design competition for the V&A at Dundee.<br />
<br />
Kengo Kuma led one of six proposals shortlisted in an international competition to find a design team to develop a landmark building that will house the V&A at Dundee and form an inspiring anchor for Dundee’s waterfront.<br />
<img alt="Kengo Kuma exterior" src="http://www.abertay.ac.uk/media/Kengo%20Kuma%20exterior.jpg" style="height: 183px; width: 420px;" /> <br />
<br />
“We were delighted by the quality of all the designs which were submitted to the competition and I think this is reflected in the huge public interest which our exhibition of models has generated,” said Lesley Knox, Chair of the V&A at Dundee project and of the jury panel.<br />
<br />
“Kengo Kuma’s proposal was the unanimous choice of the jury panel and is a worthy winner; a building that will delight visitors and encourage them to revisit it again and again. It demonstrates a clear understanding of the city, offers a new experience of the river, and will be as exciting internally as it will be externally.<br />
<br />
“This has the potential to be one of Europe’s most exciting buildings.”<br />
<img alt="Kengo Kuma interior" src="http://www.abertay.ac.uk/media/Kengo%20Kuma%20interior.jpg" style="height: 195px; width: 420px;" /> <br />
<br />
Kengo Kuma said, “It is a great honour to hear the news and my team and I are grateful for this significant opportunity. I am thrilled to be able to work with those at V&A at Dundee in order to give shape to their vision, to contribute meaningfully to the cultural richness of the city.<br />
<br />
“It will be an exciting endeavour that will combine the tradition and heritage of the Victoria and Albert Museum and our new ideas.<br />
“Furthermore, we are enthusiastic about the amazing site, the city and environment - it is our intention to find a balanced approach to nature and the city life of Dundee. We wish to bring our best efforts forward, with vigour and passion.”<br />
<img alt="Kengo Kuma gallery" src="http://www.abertay.ac.uk/media/Kengo%20Kuma%20gallery.jpg" style="height: 237px; width: 420px;" /> <br />
<br />
The jury panel made their unanimous decision after an extensive process of assessing the designs, interviewing the architects and their teams, and viewing some of their previous work. The public view was also factored in with thousands of questionnaires and comments drawn from the 13,000-plus people who visited the exhibition and those who viewed it online.<br />
<br />
“We have subjected each of the six proposals to exhaustive scrutiny, including having external assessors do a detailed examination of projected costs, and we did not have to exclude any of the submissions on grounds of affordability,” said Mike Galloway, Director of City Development for Dundee City Council and a member of the panel.<br />
<br />
“The Kengo Kuma design gives us something which is bold and ambitious but buildable and practical. It is a beautiful stone building which elegantly meets the requirements we laid out in the brief. This is a harmonious and integrated response to this unique site, which enhances the overall Waterfront Project.”<br />
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Sir Mark Jones, Director of the V&A, said the design offered “fantastic spaces to exhibit stunning design collections”.<br />
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“I think this will become a major destination and will give us an internationally recognised building,” said Sir Mark. “It will reward repeat visits and attract attention from around the world.”<br />
<img alt="Kengo Kuma restaurant" src="http://www.abertay.ac.uk/media/Kengo%20Kuma%20restaurant.jpg" style="height: 262px; width: 420px;" /> <br />
Kengo Kuma’s team for the V&A at Dundee project includes the Scottish firms cre8architecture, Optimised Environments Ltd, and CBA, and the engineering firm Arup, which has offices across Scotland, including in Dundee.<br />
<br />
The company will now engage with the partners in the V&A at Dundee project to further develop the proposal. Detailed design work will continue throughout 2011 and work is projected to start onsite in autumn 2012.<br />
<br />
The V&A at Dundee is being delivered by Design Dundee Ltd, a ground-breaking partnership between the Victoria and Albert Museum - the world’s greatest museum of art and design - and the University of Abertay Dundee, the University of Dundee, Dundee City Council and Scottish Enterprise.<br />
<br />
Design Dundee Ltd is looking to create a landmark building, which will be sited at Craig Harbour right on the banks of the River Tay. The site is being made available through the Dundee Central Waterfront Partnership, the joint venture between Dundee City Council and Scottish Enterprise which is revitalising the prime area of land linking the city centre with the River Tay. <br />
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The exhibition of models at the University of Abertay Dundee library will remain open until Saturday November 13th to allow people to return and view the winning design and the other proposals.<br />
<br />
<br />
The jury panel consisted of:<br />
<ul><li>Lesley Knox (Chair)</li>
<li>Mike Galloway - Director of City Development, Dundee City Council</li>
<li>Graeme Hutton - Dean of the School of Architecture, University of Dundee</li>
<li>Moira Gemmill - Director of Projects & Design, V&A</li>
<li>Jill Farrell - Regional Operations Director, Scottish Enterprise</li>
<li>Professor Nicholas Terry - Vice-Principal and Deputy Vice-Chancellor, University of Abertay Dundee</li>
<li>Jim Eyre - Wilkinson Eyre Architects</li>
<li>Clive Gillman - Director, Dundee Contemporary Arts</li>
</ul></div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-59395613696587856652010-10-25T09:19:00.000+01:002010-10-25T09:19:51.406+01:00Another Great Article by Craft Australia<span class="Apple-style-span" style="font-family: Arial, Helvetica, SuSans-Regular, sans-serif; font-size: 12px;"></span><br />
<h3 style="color: #444444; font-size: 14px; margin-bottom: 10px; margin-left: 5px; margin-right: 0px; margin-top: 10px; text-transform: none;"><span class="Apple-style-span" style="font-weight: 600;"><a href="http://www.craftaustralia.org.au/library/review.php?id=making_a_living_from_craft">Making a Living from Craft in the 21st Century</a></span></h3><div style="color: #444444; line-height: 1.5em; margin-bottom: 0px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">How does someone make a living from craft in the 21st century, and, in particular, how can the sector cultivate an appreciation of the value of contemporary craft in ways that drive collecting and buying? Using the experience of Metalab, a contemporary fine jewellery gallery in Sydney's Surry Hills, as a case study, this article explores the opportunities for marketing craft.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 0.5em;"><em>Sarah Evans</em></div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 0.5em;"><i><span class="Apple-style-span" style="color: black; font-style: normal; line-height: normal;"></span></i></div><i><blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">"as well as providing pleasure and satisfaction to the maker and designer, a practice also has to be a sustainable, viable reality, and successfully find its marketplace." - Grace Cochrane (2007)</div></blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">How does someone make a living from craft in the 21st century, and, in particular, how can the sector cultivate an appreciation of the value of contemporary craft in ways that drive collecting and buying? This question first came to mind when I tried to sell my own work and two years ago it became the topic of a research paper for my Masters of Art Administration degree. For the research paper I interviewed a number of people in New South Wales about the marketing of contemporary jewellery. Through the interviews I identified Metalab as gallery that is doing things in new ways. They agreed to share their experience for this article about making a living from craft in the 21st century.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">The starting point for my research paper was a UK report, <em>Making it to Market: Developing the market for contemporary craft</em>, in which the authors Morris, Hargreaves and McIntyre (2006, p.7) propose that if you want a thriving craft sector there needs to be, among other things, a high level of 'subscription' activity, where 'subscription' is:</div><blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">"the process by which artists or designer-makers accrue endorsement for their work through the actions of critics, dealers, collectors, public galleries, curators and other peers within the sector."</div></blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Morris, Hargreaves and McIntyre (2006, p.184) argue that strong subscription activity not only legitimises work, but also supports value and prestige, which in turn drives collecting, in both public and private spheres, and general purchasing activity. Through their research they found that, compared to the fine arts sector, there is a lack of subscription activity within the craft sector. This is driven by a lack of infrastructure, particularly at the high-end of the market. Without a strong retail and dealer sector, they argue, there is little to distinguish the professional from the amateur, few mechanisms to control the amount and quality of supply, and, generally, craftspeople have to be their own advocates. All of which has negative outcomes for the sector as there is "very little legitimisation or subscription activity to cultivate rarity or prestige."</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Sitting alongside this idea of subscription is the notion that people access the market in various ways and at various levels: people may be 'introduced' to craft at a local market, develop an interest in a maker or style of work, become a regular buyer, then perhaps, a collector and ultimately an advocate for the sector. For this to occur there must be places where people can see work and ways they can learn about it.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Metalab is one of a number of galleries in Australia taking up this challenge. Metalab is a commercial contemporary fine jewellery gallery in Surry Hills, Sydney, established by Nina and Cesar Cueva in 2005. When they opened, Metalab was going to be exclusively a space to exhibit contemporary jewellery and objects from established makers. But the Cuevas quickly realised it would be difficult to sustain a living from exhibiting alone. So, they divided the gallery into two spaces, one for exhibiting work and the other to sell work. Then in 2007 they opened a separate retail space, Courtesy of the Artist (COTA), in Bourke Street Surry Hills. They felt it was important to set up a retail space alongside their gallery, both to provide a source of income and as a "way in" to an appreciation of more cutting-edge jewellery.</div><blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">"For customers, visiting a retail store is a completely different experience, people just drop in to shop and there isn't the same barrier that there is going into a gallery. Through our relationships with our customers we develop their interest in contemporary fine jewellery." - Cesar Cuevas</div></blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">A 1997 Australia Council report, <em>To Sell Art, Know Your Market: A Survey of Visual Art and Craft Buyers</em> noted an increase in the number of gallery-shops. They commented: "[this] has signalled to a significant number of people that some examples of original art, 'good art', are generally within their range and affordable." (p. 34) Retail outlets can provide a more accessible way to see and buy contemporary craft.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Metalab now operates an exhibition space that is combined with a collector's cabinet to sell more cutting-edge and expensive work and a studio where they hold workshops and master classes, provide workshop access, and undertake commissions, special orders, and product design, development and manufacture. For Metalab, having the studio within the gallery "makes a big difference . . . it's about longevity . . . maintaining and creating a stronger consumer confidence." The Australia Council report (1997, p. 35) noted that those surveyed were "most enthusiastic about having direct contact with the 'creative people' who are able to produce art or fine craft work." . Being able to visit a maker's studio satisfies a desire to have personal contact with makers, to see the processes involved in making work, and even become involved in making or designing work.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">In mid-2009 the Cuevas' set up a second Courtesy of the Artist outlet, a 'pop-up' store in the Strand Arcade in Sydney's CBD. This was a way for them to test the city market, and in particular the corporate market. Now the Bourke Street Courtesy of the Artist has moved permanently to the Strand Arcade. Commenting about this venture, Cesar said:</div><blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">"The COTA 'pop-up' has been a major success. It was an ideal scenario in which we were able to effectively transplant our retail concept into the CBD and also quantify the increase in visitation and sales. Having a retail presence in Australia's busiest shopping precinct has helped cement our presence in Sydney's retail landscape. The market research we have been able to collate has been invaluable. The 'pop-up' scenario gave us the confidence to make a long term commitment and we have since accepted a long term leasing agreement from the Strand Arcade. This will give us the opportunity to further refine our concept and holistically apply our ideas from the interior and graphic identity, visual merchandising, sales approach to the types of events we produce. Public reaction has been excellent."</div></blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Metalab also has a website <a class="external" href="http://www.metalab.com.au/" rel="nofollow" style="background-image: url(http://www.craftaustralia.org.au/_img/_icons/external.gif); background-position: 100% 50%; background-repeat: no-repeat; color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 14px; padding-top: 1px; text-decoration: underline;">Metalab</a> and a blog <a href="http://www.metalabgallery.blogspot.com/" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">Metalab at Blogspot</a>. Writing in Object magazine in 2005 Craft Australia general manager Catrina Vignando (2005, p.41) said: "websites are a visual marketing tool taking work from a local context to a global marketplace . . . they show the web's communicative capacity for furthering discussion about craft practice, engaging in dialogue with other makers, and as a resource and inspiration for buyers, galleries, art managers and researchers." Through websites, people can view images; learn about processes, materials and history; email makers directly; and communicate with others interested in craft.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Building community online is also supported by physical location and proximity to larger craft and design venues. Cesar Cueva sees it as a plus being located in a neighbourhood with other galleries and retail outlets such as Object: Australian Centre for Craft and Design. Through this physical proximity Metalab is able to create links into their shared audience and networks.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Metalab have also been involved in other industry programs; in 2010 Metalab was involved in the National Contemporary Jewellery Award hosted by Griffith Regional Art Gallery, assisting with the judging of the award. Working with other organisations in the sector allows both participants to tap into new audiences.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Responding to a question about the things that have made Metalab and Courtesy of the Artist successful from a marketing point of view the Cuevas commented; " I think having a clear vision for the scope of both Metalab and COTA has allowed us to establish a criteria for the types of work we are looking to stock and also the types of events we produce."</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">They also noted the importance of their relationships with their artists; "Our strongest marketable draw cards are the artists we represent. Through them we are able to put forth a strong concept driven retail experience that has broad appeal. COTA and Metalab are very carefully curated to fit within this concept."</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">The activities of galleries such as Metalab have also been supported by a growth in activity across the sector. The staging of the exhibitions <em>Smart works: design and the handmade</em> and <em>Freestyle: new Australian design for living</em> in Sydney in 2007 were significant events in the showcasing of contemporary craft and design in Australia. In addition, exhibitions such as <em>Contemporary Wearables/ Commemorative Wearables</em> and <em>Excessory: Contemporary Australian Jewellery</em> at Manly Art Gallery and Museum in June 2010, the 2007 Marian Hoskings exhibition staged as part of the Living Treasures program, and <em>Baubles, Bangles & Beads: Australian</em> at Bathurst Regional Art Gallery in 2006 have showcased contemporary jewellery exclusively. Rupert Myer (2002) in the landmark <em>Report of the Contemporary Visual Arts and Craft Inquiry</em> noted that exhibitions in public galleries and museums are a good way to introduce the general public to contemporary visual art and craft and can create audiences and build respect for individual artists and craftspeople; as well as increasing audiences for contemporary art and craft more generally. He also noted that public galleries can play the role of a respected collector, and in this way influence the purchasing behaviour of others.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Other developments in recent years include the opening of new galleries/studios, such as Studio 20/17 and Pablo Fanque and a rise in the number of markets such as the Powerhouse Museum's Young Blood Designers and The Finders Keepers Markets. There are also a growing number of websites selling contemporary jewellery for example <a href="http://www.definitestyle.com/" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">definite<b>style</b></a> and<a href="http://www.studioingot.com.au/artists.html" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">Studio Ingot</a> and blogs where people write about contemporary jewellery such as <a href="http://kitandcaboodle.com.au/" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">Kit and Caboodle</a>. As part of the Sydney Art and About festival a new studio visit program, START Studio Art Fest, will be launched: <a href="http://www.startfest.com.au/2010/" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">START Studio Art Fest</a>.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Opening the <em>Smart Works: design and the handmade</em> conference in 2007; BBC broadcaster Peter Day noted the 21st century will provide great opportunities for craftspeople. With the development of wireless technology people can take the web with them wherever they go. Consumers and makers can communicate with others with shared interests around the world. He argues that, as a result, consumers will be better informed, will develop their own ideas and tastes, and will value individual, handmade and customisable objects. Day sees this as creating significant opportunities for craftspeople and designers, if they are ready to take advantage of them.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Through their own 'subscription' activity, Metalab and Courtesy of the Artist have been able to tap into different segments of the market and attract new audiences. They have been able to accrue endorsement for the work of the makers they represent and build value and prestige for contemporary jewellery, commenting "There has definitely been a dramatic change in consumer behaviour, most visibly in the last two years. Our clientele are generally well informed and wanting to invest in good quality locally made objects. Increasingly we are finding that customers are seeking out the one-off. Commission work has now become an important facet to our business and one that will feature strongly in future marketing strategies. I think this is all primarily due to consumer confidence. We are well aware of the power of word of mouth promotion." They have also taken advantage of opportunities, such as establishing a 'pop-up' store, embraced new technologies such as websites and blogs, used a range of tools to raise their profile, such as involvement with the National Contemporary Jewellery Award, and built and maintained a commitment to quality.</div><blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">"I think it's an exciting time to be a practicing jeweller and metalsmith in Sydney. There is definitely a lot more opportunity for makers to practice, exhibit and retail their wares locally than there was 5 years ago. As independent creative enterprises I think it is important to work closely towards establishing unique identities. Collectively we can broaden and nurture a culture for collecting and commissioning new works from studio jewellers and object makers." - Cesar Cueva</div></blockquote><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Based on this case study, it would be interesting to see further research into the ways audiences experience the sector and to map how their participation changes over time (e.g. from attending markets, to regular exhibition visitor, to collector). It appears that each player within the sector has the potential to take advantage of the opportunities that are available to them, both working within their own enterprises and working with others, and thereby contribute in a wider range of ways to the value and prestige of contemporary craft.</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;">Sarah Evans</div><div style="color: #444444; line-height: 1.5em; margin-bottom: 20px; margin-left: 5px; margin-right: 5px; margin-top: 2px;"><strong style="font-style: italic;">Sarah Evans is a freelance writer and curator with an interest in textiles and the marketing of craft. Sarah is the Project Coordinator for the Tamworth Textile Triennial.</strong></div><h4 style="color: #444444; font-size: 12px; font-weight: 600; margin-bottom: 0px; margin-left: 5px; margin-right: 0px; margin-top: 15px; padding-top: 2px; text-transform: none;">References</h4><ul><li style="color: #444444; line-height: 1.5em;">Cochrane, G., <em>Emus and Kiwis: flightless in cyberspace? Design and the handmade in Australia and New Zealand</em>, Craft Australia, 2008. Available from <a href="http://www.craftaustralia.org.au/library/review.php?id=emus_and_kiwis" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">http://www.craftaustralia.org.au/library/review.php?id=emus_and_kiwis</a></li>
<li style="color: #444444; line-height: 1.5em;">Day, P., Opening address <em>Smart works: design and the handmade</em>, 30 March 2007, Powerhouse Museum, presented on By Design, ABC Radio, 28 April 2007 . Podcast:<a href="http://mpegmedia.abc.net.au/rn/podcast/2007/04/bdn_20070428.mp3" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">http://mpegmedia.abc.net.au/rn/podcast/2007/04/bdn_20070428.mp3</a></li>
<li style="color: #444444; line-height: 1.5em;">Fillis, I., Creative Marketing and the art organisation: What can the artist offer? <em>International Journal of Nonprofit and Voluntary Sector Marketing</em>, Vol 7, No. 2, 2002, p. 131 - 145</li>
<li style="color: #444444; line-height: 1.5em;">Jones, A., Big city style, <em>Sydney Morning Herald</em>, Essential, 30 April 2009, p.12 - 13</li>
<li style="color: #444444; line-height: 1.5em;">Morris, G., Hargreaves, J, and McIntyre, A, <em>Making it to Market: Developing the market for contemporary craft</em>, Arts Council England, January 2006. Available from <a href="http://www.takingpartinthearts.com/content.php?content=1204" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">http://www.takingpartinthearts.com/content.php?content=1204</a></li>
<li style="color: #444444; line-height: 1.5em;">Myer, R., (Chairperson), <em>Report of the Contemporary Visual Arts and Craft Inquiry</em>, Commonwealth of Australia 2002 [Online]. Available from <a href="http://www.arts.gov.au/public_consultation/earlier-consultations/cvac_inquiry/report" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">http://www.arts.gov.au/public_consultation/earlier-consultations/cvac_inquiry/report</a></li>
<li style="color: #444444; line-height: 1.5em;">Quadrant Research Services, <em>To Sell Art, Know Your Market: A Survey of Visual Art and Craft Buyers</em>, Australia Council, 1997</li>
<li style="color: #444444; line-height: 1.5em;">Vignando, C., <em>Shaping new attitudes</em>, Craft Australia, 28 March 2008 Available from:<a href="http://basement.craftaustralia.org.au/articles/20080328.php" style="color: #2790c9; padding-bottom: 1px; padding-left: 1px; padding-right: 1px; padding-top: 1px; text-decoration: underline;">http://basement.craftaustralia.org.au/articles/20080328.php</a></li>
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</span></span></div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-64420038541622752832010-09-28T10:19:00.009+01:002010-09-28T10:34:39.725+01:00Dundee V&A museum designs unveiled<div class="separator" style="clear: both; text-align: center;"></div><div class="introduction"><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_RhlJ83CsHoI/TKG2GRo8BTI/AAAAAAAAAJk/WlY4Lh0Frz4/s1600/Screen+shot+2010-09-28+at+10.14.39.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="168" src="http://4.bp.blogspot.com/_RhlJ83CsHoI/TKG2GRo8BTI/AAAAAAAAAJk/WlY4Lh0Frz4/s320/Screen+shot+2010-09-28+at+10.14.39.png" width="320" /></a></div>Excerp from BBC website......Six designs for the V&A Museum planned for Dundee's waterfront will be unveiled at an exhibition in the city [tomorrow, Wednesday 29 September].<br />
</div><div class="introduction"></div>The architects were shortlisted in May and asked to submit their designs for the building, due to be opened in 2014 as a centre of 21st Century design.<br />
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Among the six are Edinburgh-based firm Sutherland Hussey. The other companies are Delugan Meissl Associated Architects, Kengo Kuma and Associates (image above), REX, Snøhetta and Steven Holl Architects. [View all design via BBC at <a href="http://www.bbc.co.uk/news/uk-scotland-tayside-central-11421082">In pictures: Dundee V&A designs]</a><br />
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<div id="story_continues_1">More than 120 firms took part in the competition to design the landmark building. Sir Mark Jones, director of the Victoria & Albert Museum in London, said they were "fantastic designs from brilliant architects".</div><div class="story-feature related narrow"><br />
<a class="hidden" href="http://www.bbc.co.uk/news/uk-scotland-tayside-central-11421077#story_continues_1">Continue reading the main story</a><br />
<a href="http://www.bbc.co.uk/news/uk-scotland-tayside-central-11421082"></a><br />
<h2>Related stories</h2><ul class="related-links-list"><li><a href="http://www.bbc.co.uk/news/10171046">New V&A Museum shortlist unveiled</a></li>
<li><a href="http://www.bbc.co.uk/1/hi/scotland/tayside_and_central/7908682.stm">Dundee has designs on V&A museum</a></li>
</ul></div>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-80503562652181824962010-09-23T13:51:00.001+01:002010-09-23T13:52:46.305+01:00End of September Already?I'm finding it difficult to believe that October is nearly upon us. This year in particular has been a whirlwind of activity. There are so many fascinating events, people and places that have filled the days and weeks. June, July and August was no exception with Craft Festival Scotland events, V&A at Dundee exhibition preparations, the 'Past, Present and Future Craft' book launch, conference organisation and attendance!! Here's a snap shot of some of the journey:<br />
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<a href="http://www.drs2010.umontreal.ca/"><b>DRS 2010</b></a><br />
July (7-10th) saw me in Montreal, Canada, at the Design Research Society conference '<a href="http://www.drs2010.umontreal.ca/">Design and Complexity</a>'. I was presenting a small but important aspect of my research from the <a href="http://www.futurecraft.dundee.ac.uk/">Past, Present and Future Craft Practice</a> project. I talked about craft as strategy, a concern for innovation and future cultural concern. I introduced the visualisation mapping method I use to analyse and evaluate the creative development of craft practitioners over a 10-year period to assess how, if and where innovation has been achieved and, where and how changes can be introduced to increase the levels of innovation in their practice. I also noted the shift in communication of craft practice that was required for craft as strategy to be understood and investigated further.<br />
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Personally, what I found most enlightening is the 'rhetoric of research' in that although I am in the midst of completing a major 5-year research project, I am also just beginning to disseminate the work and contextualize it's relevance from a range of perspectives! Why is it that when you complete you are only just beginning?<br />
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Like all conference participation, the true value lies in the social networking and the opportunity to talk about design with a new group of people who very often have different ways of working and alternative views about the future of design and design research. For me, this came from conversation with <a href="http://www.partly-cloudy.com/blog/">Camille Moussette</a> (<a href="http://www.dh.umu.se/">Umeå Institute of Design</a>), Kaja Tooming Buchanan (<a href="http://www.cia.edu/">The Cleveland Institute of Art</a>), <a href="http://designmind.frogdesign.com/blog/changing-behavior-by-design-forbes-interview-with-jon-kolko.html">Jon Kilko</a> (<a href="http://www.frogdesign.com/">Frog Design</a>), Michael (<a href="http://www.siemens.com/entry/cc/en/">Siemens</a>), Ruth Morrow (<a href="http://www.qub.ac.uk/schools/arc/Staff/FullTimeStaff/MsRUTHMORROW/">University of Belfast</a>), Richard Buchanan (<a href="http://design.case.edu/who/">Case Western Reserve University in Cleveland</a>), <a href="http://www.durling.org/">David Durling</a> (Birmingham Institute of Art and Design) and Nabile el Hilali (ISTEC Ecole supérieure de commerce Audencia, Paris).<br />
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In terms of future DRS events, a consistent and fair approach to parallel sessions would be preferred as some sessions had 2 parallel tracks while others had 8. And typically, the researchers I was most interested in listening to were scheduled to talk at the same time, during the 8 parallel track sessions! All in all, an enriching experience.<br />
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Interesting Interview online with John Kelko: <a href="http://designmind.frogdesign.com/blog/changing-behavior-by-design-forbes-interview-with-jon-kolko.html">http://designmind.frogdesign.com/blog/changing-behavior-by-design-forbes-interview-with-jon-kolko.html</a><br />
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<a href="http://www.dundee.ac.uk/craftfest"><b>Craft Festival Scotland</b></a><br />
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In June, I attended two 'In-Conversation' events held at Dundee Contemporary Arts as part of the Future Craft series of events within the Craft Festival Scotland programme. The first was a talk by printed textile designer and colourist Frances Stevenson and ceramist Lara Scobie who gave a brilliant insight in to the practice of Knowledge Exchange and Knowledge Transfer. They discussed in great detail the value of the 'Natural Forces' project (2006-7) which was initiated as a means of inspiration generation and creative product development. Frances' knowledge and application of colour along with her 2 dimensional imaging expertise and, Lara's knowledge and experience of 3 dimensional thinking and working was the essence of the 'exchange', with Lara learning from Frances and vices versa.<br />
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The results of the project are best explained via the shift in their work. Below are images of Lara and Frances' work before the project and of their new work after the partnership.<b> </b>I'll let you judge for yourself the value of Knowledge Exchange in craft practice and for craft practice.<b> </b><br />
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What also was expressed as a key outcome of the project was the significant increase in motivation for making products. The project reivigorated them both, in equal measure and has facilitated a new direction and market for their work, allowing them to continue with their craft rather than abandoning it.<b> </b>I think this is a key real world issue for all creative practitioners - re-discovering the passion when inspiration is 'thin' and<b> </b>life takes you in directions and on journeys which result in great uncertainty. For Lara and Frances, motherhood was one of these challenges and in terms of creative and commerical viability, their decision to work together resulted in the challenge being turned into an opportunity. <br />
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Both Frances and Lara lecture at Duncan of Jordanstone College of Art and Design, University of Dundee. Contact details for them can be found at <a href="http://www.dundee.ac.uk/">www.dundee.ac.uk</a><br />
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The second 'In-Conversation' talk was led by Amanda Game, Craft Curator and, Co-Founder and Director of <a href="http://www.innovativecraft.co.uk/">Innovative Craft</a> based in Edinburgh. The talk was a rare and much needed discussion about contemporary and future craft markets, education and product development. It looked at issues of innovation in craft, new methodologies, retailing and product quality. It was attended by a dynamic group of jewellers, textile designers, craft academics and interactive media designers. For me, the value of it was the passion from everyone to sustain craft as a sector, with ideas galour arising for the future direction of craft education. While not all of the ideas were in harmony (for example, making the issue of material the central feaure of educational programmes versus the need for craft education to embrace the wider implications of craft as a methodology). But what arose was that that 'quality' or 'tension' is necessary for our future plans - to capture the diversity, transparently present the different routes to market and responsibily make changes to allow craft can be sustainable and a viable future career choice, where the annual salary is (at least) 20% more than the average UK rather than being 20% less than the average UK.<br />
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How does craft capitalise on the USP that is 'craft' rather than losing out on its values and ethos to the large bluechip organisations? How does craft and its practitioners work in partnership with global brands to create sustainable new route(s) to market?<br />
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<b><a href="http://www.dca.org.uk/whats-on/films/handmade-nation.html">Handmade Nation</a> </b><br />
<div class="nth-child-even nth-child-2">As Director of Craft Festival Scotland and convenor of the Protoype Symposium (Blogged in detail in June, on CraftResearch as the event was happening<b> </b>by Momtaz<b>)</b>, I had the pleasure of introducing and welcoming<b> </b>Faythe Levine to Scotland.<i class="first-child
nth-child-odd nth-child-1"> <a href="http://indiecraftdocumentary.blogspot.com/">Handmade Nation</a></i> documents a movement of artists, crafters and designers that recognize the marriage between historical techniques, punk and DIY ethos while being influenced by traditional handiwork, modern aesthetics, politics, feminism and art. Fuelled by the common thread of creating, <a href="http://indiecraftdocumentary.blogspot.com/"><i class="nth-child-even nth-child-2 last-child">Handmade Nation</i></a> explores a burgeoning art community that is based on creativity, determination and networking. If you haven't seen it or read anbout it, I urge you to take a look at the the virtually tight-knit community that exists through websites, blogs and online stores and connects to the greater public through independent boutiques, galleries and craft fairs. </div><div class="nth-child-odd nth-child-3"><br />
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<a href="http://www.e-architect.co.uk/dundee/v_a_dundee.htm"><b>V&A at Dundee: Making it Happen exhibition</b></a><br />
<b></b>Save the Date!!! Competition Exhibition opens <b>September 29th</b>, 2010 in Dundee, Scotland. <b>Only a few days left until it opens to the public! <br />
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<b>Past Present and Future Craft Practice - new book published!</b><br />
<b></b>Launched as part of Craft Festival Scotland activities and a result of from the major research project funded by the AHRC, the book is a colections of ten chapters written by a range of experts. I'll write a blog entry dedicated to this new book, published by National Museums Scotland, and edited by myself and Georgina Follett. Keep a look out!<b><br />
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</b>Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0tag:blogger.com,1999:blog-24391203.post-11740634186442339502010-09-23T13:30:00.001+01:002010-09-23T13:32:30.416+01:00Material Culture, Craft & Community: Call For Papers ReminderThis is a reminder that submissions to the Material Culture, Craft & Community: Negotiating Objects Across Time and Space Conference are due <b>OCTOBER 10, 2010</b>.<br />
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20-21 May 2011<br />
University of Alberta<br />
Material Culture Institute<br />
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This interdisciplinary conference will explore the varied expressions of craft – material, cultural, social – in past and present societies. Craft practice has a rich history and remains vibrant today, sustaining communities while negotiating cultures. Craft-made goods were, and are, created for domestic or institutional use, for local or international markets. They express gender roles and cultural aspirations, sustain economies, and express aesthetic values and skills of making. Craft practice has long defined communities and groups, and continues to do so in the midst of global trade networks. Moreover, the flow of ideas, goods, and peoples animate the making, circulation, and meaning of craft goods. These and other issues will be addressed over the course of the conference.<br />
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<b>Keynote Speaker:</b> <br />
Laurel Thatcher Ulrich, Harvard University<br />
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<b>Confirmed Speakers:</b><br />
Eiluned Edwards, London College of Fashion, UK <br />
Edward S Cooke, Yale University<br />
Janice Helland, Queen’s University, Kingston<br />
Laura Peers, Pitt Rivers Museum, Oxford<br />
Ruth Phillips, Carleton University, Ottawa<br />
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<b>Call for Papers:</b><br />
Paper proposals and full panels are invited on topics ranging from the history to present practice of craft, issues of production, use, and trade of craft, and the construction and interpretation of the meanings of craft, in the context of personal interactions, local communities, national groups, modes of international circulation, and forms of cultural context.<br />
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Graduate students are encouraged to apply with either single papers or panels. Three graduate proposals will be selected for a special graduate plenary session, in addition to those papers selected for concurrent sessions.<br />
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Proposals are invited from all disciplines. The proposal package should include a paper summary of 150-200 words and a two-page CV. Proposals must be received by 10 October 2010.* The program will be announced 1 November 2010. Registration will open on 15 December 2010. <br />
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Conference Organizer: Beverly Lemire, Department of History & Classics and Department of Human Ecology, University of Alberta<br />
Proposals should be sent to: material.culture@ualberta.ca<br />
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Many thanks to Dr Anna Notaro for bringing this to our attention.Louise Valentinehttp://www.blogger.com/profile/13676602432019587228noreply@blogger.com0