craft research

Craft Australia Need Us!!

2011-10-28T04:06:00.001+01:00

Craft Australia Defunded by the Australia Council

Craft Australia is challenging this decision and is also seeking our support.

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.

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.

How can you help:

Sign their petition - http://tiny.cc/6norj

Forward to petition to friends and interested parties

V&A at Dundee Announces Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee Celebration

2011-06-09T06:48:00.000+01:00

Queen Elizabeth II with Prince Andrew (Cecil Beaton, 1960)

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.

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.

The exhibition will run at The McManus: Dundee’s Art Gallery & Museum from Friday September 30th to Sunday January 8th.

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.

Cabinet Secretary for Culture and External Affairs Fiona Hyslop 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.

“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.

“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.”

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.

“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.”

Lesley Knox, 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.”

The images in the exhibition depict The Queen and Royal Family, contrasting highly staged state occasions with intimate family moments.

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.

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.

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.

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.

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.

Notes to Editors

• The exhibition curator is Susanna Brown, Curator of Photographs at the V&A
• 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.

Dundee exhibition - dates and venue
Friday September 30th to Sunday January 8th
The McManus: Dundee’s Art Gallery & Museum

Admission Free. Opening times: Mon to Sat 10am - 5pm, Sun 12.30 - 4.30pm.
Thursday late opening until 8pm - specially for the Beaton exhibition run.

Exhibition organised by the V&A, London in partnership with the V&A at Dundee.
www.themcmanus-dundee.gov.uk

V&A at Dundee
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.

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.

www.VandAatDundee.com

Exhibition Publication
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).

MS: the big knit

2011-06-08T22:10:00.000+01:00

A lot of things happened to day and one of these, was an unexpected surprise from RCA and DJCAD design graduate Alison Thompson from 'Somehow Related'. 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?

Multiple Sclerosis: the big knit 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.

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.

This installation has been created for The Times Cheltenham Science Festival 2011 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.

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.

DNA and Multiple sclerosis.

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.

Multiple sclerosis, the disease.

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.

Vitamin D and Multiple sclerosis.

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.

Please visit the project website (www.immunology.org/msthebigknit) for details of these events. Contact: Hannah Hope - project co-ordinator. H.Hope@immunology.org
Alison Thomson – Tableaux designer. alison.thomson@network.rca.ac.uk http://www.somehowrelated.co.uk

Endless End EAD09

2011-05-16T09:05:00.000+01:00

Earlier this month I was at the 9th International European Academy of Design 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…”

6 themes ran through the conference –

Locality - the role of design in specific social and cultural environments,
Liquidity - design´s redefined and expanding territories
Nomadism - design actively searching for new areas and tools of expertise 
Involvement - design as a catalyst for change and progress
Vertigo -  envisioning what´s ahead, calibrating past inheritances
Education - how can design be taught in era of multiplicity and open creativity?

They were not ‘closed’ themes rather they are open-ended, open to transformation.

It was under the theme of ‘Liquidity’ that I presented the 5-year project ‘Past, Present and Future Craft Practice’, 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.

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.

Snapshot of 8 layers of activity within a 5-year timeframe of practitioner 1

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

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.

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!

A NATIONAL CELEBRATION OF CRAFT IN SCOTLAND

2011-04-27T15:57:00.000+01:00

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.

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.

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.

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.

Festival attractions include:

· 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. 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. A number of objects will be used to explain many of the different processes involved in studio glass. 20 May - 11 Sept 2011

· 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. 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

· Dundee Degree Show 2011: 21 - 29 May 2011;
Edinburgh College of Art Fashion Shows: 4 - 6 May 2011;
Intervention at Provost Skene’s House by third year students, 3D Design, Gray’s School of Art: 7 May – 30 June 2011

· 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

· 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

· 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. 28 March - 31 December 2011

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).

Full festival programme at: www.dundee.ac.uk/djcad/cfs2011/events

For updates on new events in May: www.facebook.com/CraftFestivalScotland

http://twitter.com/craftfestscot

DIRECTOR APPOINTED TO `V&A AT DUNDEE’ PROJECT

2011-04-21T06:00:00.000+01:00

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.

“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.

“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.”

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.”

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.

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.

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.

www.VandAatDundee.com

London on the Weekend - yohji yamamoto and the cult of beauty

2011-04-03T16:47:00.002+01:00

For the past year I have been part of the Product Team for the V&A at Dundee 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 V&A South Kensington in London (until 15 May, 2011). Professor Paul Thompson, Rector of Royal College of Art and Lesley Knox, 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 Kengo Kuma'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.

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!'

As well as the architectural design display, the delights of the V&A included a spectacular retrospective of fashion designer Yohji Yamamoto (- 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.

A sensational history lesson via The Cult of Beauty 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.

Two different design commentaries, both utterly inspirational.

THE WORLDʼS FIRST GLOBAL SERVICE JAM

2011-03-08T15:33:00.000Z

48 HOURS, 27 COUNTRIES AND 3000 PARTICIPANTS!

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.

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.

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.

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.

Are we doing something that has never been done before? YES
Log on to http://www.gsjamscotland.org.uk/

Contact: Sarah Drummond

Tel: 0141 5661492
Mob: 07903518475
Email: sarah@wearesnook.com

Craft in Scotland – a reflection on the first Decade of the 21st Century

2011-03-04T08:26:00.000Z

by Tina Rose,

NB Long Post

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) ‘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’.

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^st century.

Although familiar arguments are always raised when you talk about craft in Scotland, there is no doubt we are making progress.

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. 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.

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. The second international conference – New Craft, Future Voices - took place in 2007 as part of PPFCP.

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. 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. www.craftscotland.org

There have been many significant anniversaries marked over the past decade which illustrate the strength and vitality of craft organisations in Scotland. The Scottish Potters Association celebrated its 30^th anniversary in 2004, and the Scottish Glass Society also reached 30 years in 2009, with the 400^th anniversary of Scottish glass in 2010. 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. www.northlandsglass.com

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. www.covepark.org

Another fascinating development has been the growth of open studio events. 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.

Of course, it is not all good news. 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.

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.

It is impossible to mention all the exhibitions, or the accomplishments of individual makers over the decade, but some achievements need to be recognised.

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.

The showcase of Scotland’s indigenous crafts during the Smithsonian Folklife Festival in Washington DC which was attended by several million US tourists.

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. 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 www.silverofthestars.com

However, as well as taking Scottish craft around the world, there have been imaginative collaborations which have brought European and international craft to Scotland.

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.

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 www.youtube.com/user/fifecontemporary#p/u/5/jPZNcS31QqY

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 www.shetlandarts.org/portage-finger-symbols-film-exhibition-preview/

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. www.futurecraft.dundee.ac.uk

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. www.dovecotstudios.com 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. 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.

www.innovativecraft.org

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.

Reference

Greenhalgh, P. (2007) In, Valentine, L. and Follett, G. [eds.] (2010). Past, Present and Future Craft Practice. Edinburgh: National Museums Scotland Ltd.

Canada Research Chair in Applied Creativity

2011-01-29T10:14:00.002Z

Advancing the visual arts.The Nova Scotia College of Art and Design (NSCAD University) invites applications and nominations for:

Canada Research Chair (Tier 2) in Applied Creativity

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.

REVIEWS BEGIN
January 15, 2011 and will continue for the next few weeks

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.

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 (http://nscad.ca/site-nscad/media/nscad/strategicplan.pdf), s/he will mobilize established studio and academic strengths within NSCAD and participate in local and regional research networks.

APPLICANTS
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.

DIRECT APPLICATIONS TO
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.

For more information, please visit www.nscad.ca.

Willow Fuelled with Emotion

2011-01-28T10:52:00.000Z

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.

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.

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.

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. 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.

In these new large scale wall pieces she seems to draw with willow, each strand like the line of a pencil. “Ideas and thoughts, like migratory birds, arrive in my head” she explains. “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”.

Her work is fuelled with the intensity of thought during its creation. 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. It is a very sad piece but redeemed by one willow leaf coated in gold leaf which represents the hope that is always there.”

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. She does this with a compelling modesty and subtle force. She finds the telling contrast of stillness and motion; of solidity and airiness. 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.”

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’. 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. 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. These are the marks of civilisation.”

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.

This is an exhibition of artistry. The work is graceful and majestic, while beautifully emotional. It is willow in the 21^st century.

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. www.lizziefarey.co.uk

by Tina Rose

For further reading about Tina Rose, visit: http://www.craftscouncil.org.uk/crafts-magazine/latest-issue/feature/2

Twelve Vessels of Life, Love and Death

2010-12-14T16:46:00.000Z

Top Image: January's Bowl by Michael Lloyd; photo by Nick Duxbury

Bottom Image: Sketches for January's Bowl by Michael Lloyd; photo by Nick Duxbury

Exhibition review by Tina Rose

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.

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. 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.

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. Each has its own individual form and imagery, and also, in his words, is ‘honouring the preciousness of memory’.

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.

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. 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. 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’.

At the New Craft Future Voices International Conference in 2007 (transcript in PPFCP publication) 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. 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. We should simply recognise this and desist from further categorisation. If it works as poetry, it works.’

There is a peacefulness, honesty and beauty to this exhibition which is born from experience, skill, imagination and character. It has a spiritual poetry which could only have been created by Michael Lloyd.

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.

Tina Rose, December 2010

Research Assistant: Sustainability, Invention and Energy Demand Reduction

2010-12-01T13:15:00.000Z

Brilliant New Opening at Goldsmiths University of London

The Role
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.

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.

The Department
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.

To apply online and for further information see: http://tiny.cc/9405q

Job Details
Part-time (0.8fte) Research Assistant (Design Focus)

Reference Number    SOC000014
Department    Design and Sociology
Type of Contract    Fixed-Term
Full Time/Part Time    Part Time
Interview Date    Tuesday 18 January 2011
Closing date for applications    3 January 2011

From: £29,953 to £30,773 pa incl LW (pro rata)

Fixed-Term until 31 December 2013
Start date: As soon as possible

V&A at Dundee - design competition winner announced

2010-11-04T12:15:00.000Z

The Japanese architectural practice Kengo Kuma & Associates has been named the winner of the design competition for the V&A at Dundee.

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.

“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.

“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.

“This has the potential to be one of Europe’s most exciting buildings.”

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.

“It will be an exciting endeavour that will combine the tradition and heritage of the Victoria and Albert Museum and our new ideas.
“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.”

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.

“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.

“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.”

Sir Mark Jones, Director of the V&A, said the design offered “fantastic spaces to exhibit stunning design collections”.

“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.”

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.

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.

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.

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.

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.

The jury panel consisted of:

Lesley Knox (Chair)
Mike Galloway - Director of City Development, Dundee City Council
Graeme Hutton - Dean of the School of Architecture, University of Dundee
Moira Gemmill - Director of Projects & Design, V&A
Jill Farrell - Regional Operations Director, Scottish Enterprise
Professor Nicholas Terry - Vice-Principal and Deputy Vice-Chancellor, University of Abertay Dundee
Jim Eyre - Wilkinson Eyre Architects
Clive Gillman - Director, Dundee Contemporary Arts

Another Great Article by Craft Australia

2010-10-25T09:19:00.000+01:00

Making a Living from Craft in the 21st Century

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.

Sarah Evans

"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)
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.
The starting point for my research paper was a UK report, Making it to Market: Developing the market for contemporary craft, 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:
"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."
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."
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.
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.
"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
A 1997 Australia Council report, To Sell Art, Know Your Market: A Survey of Visual Art and Craft Buyers 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.
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.
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:
"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."
Metalab also has a website Metalab and a blog Metalab at Blogspot. 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.
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.
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.
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."
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."
The activities of galleries such as Metalab have also been supported by a growth in activity across the sector. The staging of the exhibitions Smart works: design and the handmade and Freestyle: new Australian design for living in Sydney in 2007 were significant events in the showcasing of contemporary craft and design in Australia. In addition, exhibitions such as Contemporary Wearables/ Commemorative Wearables and Excessory: Contemporary Australian Jewellery at Manly Art Gallery and Museum in June 2010, the 2007 Marian Hoskings exhibition staged as part of the Living Treasures program, and Baubles, Bangles & Beads: Australian at Bathurst Regional Art Gallery in 2006 have showcased contemporary jewellery exclusively. Rupert Myer (2002) in the landmark Report of the Contemporary Visual Arts and Craft Inquiry 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.
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 definitestyle andStudio Ingot and blogs where people write about contemporary jewellery such as Kit and Caboodle. As part of the Sydney Art and About festival a new studio visit program, START Studio Art Fest, will be launched: START Studio Art Fest.
Opening the Smart Works: design and the handmade 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.
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.
"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
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.
Sarah Evans
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.
References
Cochrane, G., Emus and Kiwis: flightless in cyberspace? Design and the handmade in Australia and New Zealand, Craft Australia, 2008. Available from http://www.craftaustralia.org.au/library/review.php?id=emus_and_kiwis
Day, P., Opening address Smart works: design and the handmade, 30 March 2007, Powerhouse Museum, presented on By Design, ABC Radio, 28 April 2007 . Podcast:http://mpegmedia.abc.net.au/rn/podcast/2007/04/bdn_20070428.mp3
Fillis, I., Creative Marketing and the art organisation: What can the artist offer? International Journal of Nonprofit and Voluntary Sector Marketing, Vol 7, No. 2, 2002, p. 131 - 145
Jones, A., Big city style, Sydney Morning Herald, Essential, 30 April 2009, p.12 - 13
Morris, G., Hargreaves, J, and McIntyre, A, Making it to Market: Developing the market for contemporary craft, Arts Council England, January 2006. Available from http://www.takingpartinthearts.com/content.php?content=1204
Myer, R., (Chairperson), Report of the Contemporary Visual Arts and Craft Inquiry, Commonwealth of Australia 2002 [Online]. Available from http://www.arts.gov.au/public_consultation/earlier-consultations/cvac_inquiry/report
Quadrant Research Services, To Sell Art, Know Your Market: A Survey of Visual Art and Craft Buyers, Australia Council, 1997
Vignando, C., Shaping new attitudes, Craft Australia, 28 March 2008 Available from:http://basement.craftaustralia.org.au/articles/20080328.php

Dundee V&A museum designs unveiled

2010-09-28T10:19:00.009+01:00

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].

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.

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 In pictures: Dundee V&A designs]

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".

End of September Already?

2010-09-23T13:51:00.001+01:00

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:

DRS 2010
July (7-10th) saw me in Montreal, Canada, at the Design Research Society conference 'Design and Complexity'. I was presenting a small but important aspect of my research from the Past, Present and Future Craft Practice 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.

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?

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 Camille Moussette (Umeå Institute of Design), Kaja Tooming Buchanan (The Cleveland Institute of Art), Jon Kilko (Frog Design), Michael (Siemens), Ruth Morrow (University of Belfast), Richard Buchanan (Case Western Reserve University in Cleveland), David Durling (Birmingham Institute of Art and Design) and Nabile el Hilali (ISTEC Ecole supérieure de commerce Audencia, Paris).

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.

Interesting Interview online with John Kelko: http://designmind.frogdesign.com/blog/changing-behavior-by-design-forbes-interview-with-jon-kolko.html

Craft Festival Scotland

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.

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. I'll let you judge for yourself the value of Knowledge Exchange in craft practice and for craft practice.

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. I think this is a key real world issue for all creative practitioners - re-discovering the passion when inspiration is 'thin' and 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.

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 www.dundee.ac.uk

The second 'In-Conversation' talk was led by Amanda Game, Craft Curator and, Co-Founder and Director of Innovative Craft 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.

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?

Handmade Nation

As Director of Craft Festival Scotland and convenor of the Protoype Symposium (Blogged in detail in June, on CraftResearch as the event was happening by Momtaz), I had the pleasure of introducing and welcoming Faythe Levine to Scotland. Handmade Nation 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, Handmade Nation 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.

V&A at Dundee: Making it Happen exhibition
Save the Date!!! Competition Exhibition opens September 29th, 2010 in Dundee, Scotland. Only a few days left until it opens to the public!

Past Present and Future Craft Practice - new book published!
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!

Material Culture, Craft & Community: Call For Papers Reminder

2010-09-23T13:30:00.001+01:00

This is a reminder that submissions to the Material Culture, Craft & Community: Negotiating Objects Across Time and Space Conference are due OCTOBER 10, 2010.

20-21 May 2011
University of Alberta
Material Culture Institute

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.

Keynote Speaker:
Laurel Thatcher Ulrich, Harvard University

Confirmed Speakers:
Eiluned Edwards, London College of Fashion, UK
Edward S Cooke, Yale University
Janice Helland, Queen’s University, Kingston
Laura Peers, Pitt Rivers Museum, Oxford
Ruth Phillips, Carleton University, Ottawa

Call for Papers:
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.

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.

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.

Conference Organizer: Beverly Lemire, Department of History & Classics and Department of Human Ecology, University of Alberta
Proposals should be sent to: material.culture@ualberta.ca

Many thanks to Dr Anna Notaro for bringing this to our attention.

Prince Philip Designers Prize 2010 - shortlist announced

2010-09-16T11:46:00.001+01:00

Among them is furniture designer John Makepeace. Above John Makepeace's Knot Chair.

Craftivism Collective

2010-09-15T12:19:00.000+01:00

Why not have a read of their blog....

Do you have 10 minutes?

2010-09-09T15:05:00.000+01:00

then why not listen to one of TED's talk's...

Aimee Mullins and her 12 pairs of legs

Athlete, actor and activist Aimee Mullins talks about her prosthetic legs -- she's got a dozen amazing pairs -- and the superpowers they grant her: speed, beauty, an extra 6 inches of height ... Quite simply, she redefines what the body can be.

TED never ceases to inspire and educate...and within its virtual goodie bag, it's nice to be able to re-visit inspirational work.

Which one Will YOU Choose?

2010-09-07T16:08:00.000+01:00

Henry Moore Institute Annual Academic Open Day - Friday 15 October

2010-09-07T15:23:00.000+01:00

with guest lecture from artist Claire Barclay

The Institute's annual academic open day will include behind-the-scene tours of the exhibitions, collections, library and archive, as well as an introduction to our forthcoming events programme. If you are a tutor or a student with an interest in sculpture, this is the ideal introduction to the Institute and an opportunity to find out how our resources and academic events can enhance your work. The event will begin at 2.30 with a schedule of talks and tours from Henry Moore Institute curatorial staff.

The day will conclude at 5.30pm with a guest lecture from artist Claire Barclay at Leeds Art Gallery Lecture Theatre.

To book a place for yourself or a small group for the afternoon tours, or for more information, please contact Kirstie Gregory, kirstie@henry-moore.org

Annual Open Day lecture with sculptor Claire Barclay
Leeds Art Gallery Lecture Theatre
Friday 15 October , 5.30-6.30pm

Claire Barclay's practice reflects an important strand in contemporary sculpture, engaging with questions of making and the role of 'craft' in art. Barclay will discuss her own work, picking up on themes from the concurrent Henry Moore Institute exhibition, Undone - a group show which brings together sculpture balanced on the threshold between the made and unmade.

Barclay creates sculptural environments, immersive installations which combine carefully crafted objects with more improvised elements, often constructed in-situ and responding specifically to a given space. A fascination with the material world of objects and the processes of their making lies at the heart of her practice. The objects in her installations recall the paraphernalia of the real world, but are never drawn directly from it - they are either hand-made by the artist, using traditional craft techniques, such as weaving, wood turning, glass-blowing and ceramics, often learnt for a particular project, or manufactured by specialists to her own specifications.

Claire Barclay has represented Scotland at the Venice Biennale (2003), shown at The British Art Show 6 (2005), Art Now at the Tate (2004) and has exhibited internationally in both solo and group shows since graduating in environmental art from Glasgow in 1993.

This talk is open to all and it is not necessary to book

http://www.henry-moore.org/hmi/research/research-events/annual-academic-open-day

Kirstie Gregory
Research Programme Assistant
Henry Moore Institute
The Headrow
Leeds
LS1 3AH

tel +44 (0) 113 246 7467
kirstie@henry-moore.org.www.henry-moore.org

craftscotland AGM :: 27 August 2010

2010-08-30T14:05:00.000+01:00

Comfortably seated in the very grand surroundings of Edinburgh City Chambers, I sit. Louise Butler, Co-Chair of craftscotland Board of Directors gives a warm welcome and introduction to the proceedings. Over-and-above the formal aspects of an AGM (approval of minutes, budget etc) she offers an introduction to new members to the craftscotland Board and while names escape me, their knowledge doesn’t – business, fund raising, festival direction, theatre direction craft practice and banking. Mindful additions!

CEO, Emma Walker opens her talk with a dynamic short film summarizing the key achievements and changes to the organisation over the past year (– including the new team of 7, new premises - from broom cupboard to ‘proper’ open plan studio -, new philosophy, The C Word campaign, new approach to exhibiting at COLLECT, website facelift, Meet Your Maker campaign) before going into detail about each of these.

My notes from Emma’s jam-packed, positive talk include:

Identified Problem : 2009

“Craft is promoted to the converted which gives the illusion of a clique. We need to be promoted in a high profile, public way.”

Investigation Route through the Problem: 2009

A ‘What is Scottish Craft?’ survey was conducted and essentially two categories of answers – positive and negative, with an example of each given below:

“Perception of the work is amateur consequently I avoid the ‘c’ word in most of my marketing.”

“Encourage craft artists to be proud to be linked to the word. It is not a dirty word.”

The upshot of the survey was that Scottish Makers really wanted to walk away from the word’ craft’. Subsequently the initial mission of craftscotland was to reclaim the word craft; re/position craft; encourage passion, pride and enthusiasm; promote Scottish craft in a high profile arena; develop new audiences.

The Team

Emma Walker, CEO.

Rebecca Davis, Audience Development Officer

Jo Scott – Business Administrator

Rick Anderson, Admin and Event Assistant

Melanie Paget, Online Assistant (Graduate Internship)

Rachel McCrum, PhD Researcher

Future Plans

Future plans include the launch of the new philosophy; craftscotland membership (scheduled to launch in January 2011); redevelop website, (with the new site focused on inspiring the sector and have an American Website (as it is the biggest export market for Scottish Craft) and a marketing budget which is being achieved through a recent award for £43K, received for project AmbITion from new innovation Fund.

Future communication of craftscotland.... craftscotland is a creative organization; an outward facing audience development agency whose philosophy is to unite, inspire and champion Scottish craft. Its values are to champion quality, be brave, creative and forward looking and, to act with integrity.

Acknowledged Room for Improvement

Although craftscotland has been successful in many areas, acknowledgement was given to the need to feedback and better communicates the recent achievements and new initiatives back to craft practitioners and sector in Scotland.

Final word to everyone involved with Scottish craft - “We are here for you, so speak to us!!”

Phew!! I was exhausted after listening to the activity so goodness only knows how Emma feels after actually conducting it all!

Next up was…

Rebecca Davis: Audience Development Officer

And the ‘piste de résistance’ of the afternoon was …

Lisa Bayne, CEO Artful Home

Invited International Speaker

A marketing-focused, brand aware individual.

LV's notes:

Artful Home as a leading online marketing partner to professional artists and designers in North America and, a destination for buyers and trade professionals.

After a little history (-founded in 1985 as a publishing business, became guild.com in 1999, launched the Artful Home brand and then rebranded it in 2008 -), Lisa, relaxed and confidently explained the key asset of the company is its relationships, (which are based on quality). Relationships! Relationships! Relationships!

It operates using a Zero Inventory Model to an Elite High-ticket Purchaser Community. It has High Credibility with Consumers and High Credibility in Artist Community. It has deep Internal Knowledge and Experience of each Artist.

What do we mean by a ‘Zero Inventory Model? Well, essentially, they buy absolutely nothing! They represent 900 artists. Market this work to the best of their ability. Take 50% commission for each product sold online via Artful Home. Have a turn over of approx $9 million.

It’s not rocket science, but it’s a model of best practice that transparently offers an alternative to the gallery model particularly at a time when many (traditional brick and mortar) galleries are closing.

Lisa talked freely and eloquently about the jury process, online curation, key competitors, the artist community and marketing.

Marketing is what they are really about – it’s what they do and why they exist. For example, they have a catalogue (distribute 1.5 million copies, approx 72 pages, 6 per year, brings a sense of touch, sense of environment to user, it has a limited edited assortment, and acts as a preview to the online store). While 40% of items sold to catalogue recipients are not featured in catalogue the catalogue plays an important role - it acts as a gateway to online source. They use email (with a database of approx 80 000 names, the frequency of emailing is based on the time of year and, the message must be worth it to get to eyeballs). They also use paid search; SEO; Social Media, Public relations, and use no traditional advertising. Key Message: They don’t rely on any one area of marketing.

They have a number of online curatorial opportunities, for example, email, catalogue and website design. Curation is used as a means of focusing the user/consumer’s attention. For example, they put the white show out when ‘The Beatles’ ‘White’ album was re-released and had an Alice in Wonderland theme when the Tim Burton film was released – on both occasions it made it seem as if the work was more relevant to popular and contemporary culture and, again, it focused the users when navigating the website.

Key Message: with each campaign they made it easy, kept it fresh; offered expertise as desired by customer and offered quality products and imagery.

Would love to see this for Scotland!!!

The E Word: Etsy

Lisa presented Etsy as an extraordinary business model with a turn over of $28 million a month (July 2010) with over a million items sold in a month. It’s a community for a democratic marketplace. Etsy is a very different model to the Artful Home model and therefore a very different experience for the consumer (as they have different expectations e.g. generational, life-stage, lifestyle expectations) and the artist. The Artful Home experience is that Etsy is not a successful model for professional artists.

Some Other Info / Statistics:

• Art, Craft is $14 Billion market in North America

• Combination of wall and craft art marketing north America is estimated to be $75 billion

• Artful Home: while it markets the majority of artforms it doesn’t include the digital, performing and interactive arts.

• The Artful Home work, marketed online, is chosen for inclusion via a jurying process.

Artful Home has a strong ongoing relationship with their artists and they currently have the broadest selection of original 3 dimensional art available online.

Beyond the Bench

2010-08-30T13:33:00.000+01:00

The Master of Design Programme at the University of Dundee takes a radical approach to design: the challenges of today’s world mean that designers need to see the big picture and think beyond their own disciplines. Students from a range of different design, craft and related disciplines from around the world come together to discover, define and develop their skills to position themselves to make an impact on the world.

This year, Gill Ross, who has an undergraduate degree in jewellery design from Duncan of Jordanstone College of Art and Design has created Small Campus: Big World ( http://bit.ly/cpQnwr ) a mapping service to help overseas students quickly familiarise themselves with a new city. Gill demonstrates that someone trained in a jewellery background can adapt skills acquired as a jeweller: visualising, prototyping and communication with clients and apply it in a completely new design area. Another recent example of jewellers stepping outside their comfort zone is Masters graduate Kate Pickering. On the Masters Programme, Kate worked on a research project with Deutsche Telekom laboratories in Berlin focussing on information communication for older users. On graduation, Kate was selected to take part in Starter for 6, an enterprise training programme that supports up and coming creative entrepreneurs, and now runs a mentoring scheme for jewellers, vanilla ink. http://vanillaink.wordpress.com/whats-vanilla-ink/

This year, we have jewellers from Scotland to Chile joining the programme with projects ranging from how CAD/CAM impacts on the creative process to exploring how jewellery making can be used as a facilitation tool with adults with learning disabilities. There is also an opportunity this year for a student to work on developing a forensic jewellery identification system alongside our award winning Jewellery and Metalwork and world renowned Forensic Art Programme.

The graduates from the Master of Design course at Dundee demonstrate that seeing the world through the eyes of a jeweller has a value beyond the bench.

Programme Director, Hazel White graduated from Goldsmithing, Silversmithing, Metalwork and Jewellery at the RCA. Her research and practice explores how craft can give meaning to digital objects.

MULTI

2010-08-30T13:28:00.002+01:00

Multi: The Journal of Diversity and Plurality in Design is the first multidisciplinary journal dedicated to all that affects design and its attendant and related disciplines. Multi provides a venue though which truly forward-looking, practical matters pertinent to design can be discussed and shared amongst design professionals with colleagues from those academic disciplines influenced and affected by advances in design and design technology.

The international editorial board of Multi seeks original, unpublished contributions for upcoming issues which aim to nurture an inclusive intellectual environment that both stimulates and supports the discourse anchored by multiplicity in design. Multi endeavors to include as many perspectives and as many voices as possible, while maintaining rigorous editorial standards. Multi is one vehicle which will help to foster a renewed energy and responsibility amongst not all design professionals, and all those whose lives are touched in some way through design.

The following thematic issues have been announced for upcoming issues:

Volume 3, Number 1 (Spring 2011): Special Issue: Design and Change: the impact of innovation on the design profession, design pedagogy, and the future practice of design.

Volume 3, Number 2 (Fall 2011): The Branded Environment: issues of consumer culture and branding are changing the manner by which citizens interact with one another.

In addition to papers, subject matter experts who may wish to contribute in an editorial capacity are invited to respond.

To submit a paper, please register at http://library.rit.edu/oajournals/index.php/Multi/ The submission deadline is ongoing, though authors are encouraged to submit early. All papers will be blind reviewed by at a minimum of two reviewers.

Alex Bitterman, PhD

Associate Professor
School of Design

Editor-in-Chief
Multi: The RIT Journal of Diversity & Plurality in Design
Rochester Institute of Technology
3404 Booth Hall
73 Lomb Memorial Drive
Rochester, NY 14623-5603

National Life Stories at the British Library

2010-08-20T17:11:00.000+01:00

Job Vacancy: Oral History Interviewer, Crafts Lives

Since 1999 the Crafts Lives oral history project has been recording in-depth life stories with Britain's craftspeople, exploring both their personal and their working lives. The project has encompassed British studio crafts such as pottery, glass, metalwork, jewellery, furniture, textiles and book arts (excluding rural crafts), which have traditionally suffered from a paucity of documentation and research.

National Life Stories (NLS) is now seeking to recruit a full-time oral history interviewer to add more recordings to this important collection. The oral history interviewer will co-ordinate, initiate, research and carry out a series of digital oral history interviews averaging 8-10 hours each, for deposit with the British Library. The postholder will be expected to carry out between 12 and 18 complete interviewers in a 12 month period.

This is a freelance fee-paid consultancy involving a package of 250 days’ work at a daily rate of £98, working on a flexible basis for a period up to 18 months. All travel and other out-of-pocket expenses will be met by NLS. Hot desk office space is available at NLS’s offices at the BL’s St Pancras building but home-based access to a PC with internet access is required. The post will be an integral part of the BL’s oral history team.

For more information about this position and job specification, please view the full advert at http://www.jobs.ac.uk/job/ABO252/oral-history-interviewer and click on the link to ‘Further Particulars’.

Applications

To apply you should send a CV and a covering statement explaining how your experience and skills meet the requirements specified in the job profile to:

Crafts Lives, National Life Stories, British Library, 96 Euston Road, London NW1 2DB or email this information to nls@bl.uk

Please indicate where you found this position advertised.

All applications must be received by 5.00pm on Monday 27 September 2010.

Interviews will take place at the British Library on Thursday 21st and Friday 22nd October 2010.

If possible, we would like the successful candidate to start work in November 2010.

V&A at Dundee - Making it Happen, Architectural Competition

2010-07-21T16:12:00.002+01:00

Dundee, Scotland continues to be alive with creative energy! We're currently planning and organising an incredible exhibition with a fantastic series of events to showcase the design competition for the V&A at Dundee project, which aims to develop a new centre of 21st century design for Scotland at the heart of Dundee’s waterfront.

Companies from Vienna, Tokyo, New York, Oslo, and Edinburgh form the shortlist, which contains some of the most exciting names in world architecture and design applied. The six shortlisted companies are:

Delugan Meissl Associated Architects (Vienna)
Kengo Kuma & Associates (Tokyo)
REX (New York)
Snøhetta (Oslo)
Steven Holl Architects (New York)
Sutherland Hussey Architects (Edinburgh)

For further info, click on the link: http://www.e-architect.co.uk/dundee/v_a_dundee.htm

Image (above): Sir Mark Jones, Director of the V&A with Scottish Government Minister Fiona Hyslop.

Assemble, London :: Session 1

2010-06-22T11:14:00.003+01:00

Rosy Greenlees opened the Assemble one-day conference where Crafts Council (CC) launch their (to be) annual research event. Crafts Council launch 3 new pieces of research today, which as Rosy noted, is their contribution craft future debates and agenda.

Professor Press urged us as colleagues to champion the values of craft and to understand better why craft is worth campaigning for in these new times, i.e. post new-labour. Craft's challenge is to connect with the concerns and interests of the world around us, leaving the urge to define what craft is behind. We have new priorities defined by the sector. How should craft connect with the 'Big Society' set by todays new political UK framework? We have a choice notes Press, seize the moment or squander it? 'It' being the opportunity for change in a way that hasn't been presented for over a generation. Press noted the priority was to refine and define objectives and priorities for the craft sector; to engage in an informed dialogue and debate.

Making Value by Mary Schwarz and Dr Karen Yair, presented key findings from one of the CC new research projects, this one a qualitative piece of research that looked at the 65-70% of makers who have a portfolio of practice and are working beyond the making, exhibition and sale of craft objects'. e.g. Barley Massey, Sheila Tegue. (Making Value in Industry Sectors, in Education and Community Settings). My interest and interpretation of Schwarz and Yair's talk was about the various forms of knowledge offered by craft: material, social, learning strategies, creative methods.

Listening to practitioners, while interesting on individual level, there appears to be a huge opportunity for 'us' to talk, to converse, to explain what we do, how we do it and WHY we do it differently as it is very difficult to penetrate what the 'value' of craft is when the conversation is heavily descriptive.

Lynne Murray's work is worth having a look at. It is the result of a Knowledge Transfer Partnership project which looked at new ways of understanding the vaue of craft, craft knowledge and craft maker. www.tissot.ch/reality. As is the work of Tom Gallant.

On closing of this first session, what is interesting is that CC appear to have taken a stance that craft is skillful making, and while Professor Press noted that the time to define craft is over, the majority of the presentations were concerned with craft as a 'type cast' process driven experience. The intellectual intentions of the makers were lost and the big brand, 'product' or client were over-riding Craft. Perplexing. There, as yet, appears to be a failure to communicate craft as a bigger set of issues e.g craft as a strategy rather than a concern for technical dexterity. Explaining craft and crafting beyond materiality has as yet to arise in today's debate.

In Conversation with Geoff Mann

2010-06-16T10:57:00.001+01:00

As part of the new national initiative Craft Festival Scotland and the research exposition 'Knowledge Through Making' (currently on show in the Visual Research Centre at Dundee Contemporary Arts), the Scottish artist Geoff Mann was in Dundee yesterday.

Geoff explained that he is fascinated with transposing the ephemeral nature of time and motion, and that his studio practice seeks to challenge the existing divides between art, craft and design. Our conversation began with a bit of background using 'Dogfight and 'Attracted to Light' as an introduction to his ideas. He explained that observations of contemporary life and questions concerned with the intangible idea of 'touching motion' lead his practice; he is a narrative led artist rather than process led and, while he is greatly inspired by the process of making he doesn't like to get physically/technically involved in it these days; he sketches via animations, film and 'thought sketches' and, there are no traditional 'sketchbooks' in his studio; he is purposefully vague as to what/how he 'labels' himself i.e. artist, designer, director because the current market(s) in which creatives operate these days have fundamentally changed and are ever changing.

The focus of the event was his new Crossfire Series (- an Animation and a series of sound objects are exhibited in Knowledge Through Making and commissioned by Past Present and Future Craft Practice). 'In Conversation' discussed the role of Rapid Prototyping (RP), noting that just because an object can be made by RP doesn't mean to say it has to be made; it explored if/how an object can speak to an audience about concept when the artist isn't there to explain; it delved into the importance of 'tactility' and the role of 'touch' when analysing and evaluating new work, and it questioned the role of material in craft where material is and is not an integral aspect of visual integrity.

Brief Bio
Geoff has exhibited in National and International venues including MoMA New York; International Bombay Sapphire Awards, London and Milan, Jerwood Contemporary Makers exhibition, MAD New York and the European Glass Context in Denmark. In 2008, he was awarded the World Craft Council Prize for Glass and in 2009 won the Jerwood Contemporary Makers Prize. Mann has work included in MoMA New York, Design and Architecture collection and MAD New York, Design and Applied permanent collections.

Knowledge Through Making :: 10 June - 9 July, Dundee
Knowledge Through Making offers a great experience, built around the magic of craft. The exposition shows and explains beautiful objects, offering insight into how they emerge following the spark of creativity. The objective is to delight, educate, inspire and demonstrate the power of craft to create new ideas and ways of doing things. In the spotlight is contemporary craft from Georgina Follett, Geoffrey Mann, Drummond Masterton, Lara Scobie, Frances Stevenson, Louise Valentine, Tim Parry-WIlliams, Hazel White and Ewan Steel.

Discovery 2: Prototypes can spark interaction

2010-06-15T17:25:00.017+01:00

This is the second of my discoveries from the foyer of the Prototype Symposium 2010.

Prototypes can spark interaction: The work of Roy Shearer, uses Niftymitter to look at the possibility of using open source practice with physical objects. Niftymitter: an open thing is a device that transmits from an audio source to any FM radio. It is designed to be taken by the new owner and hacked, tampered, improved and can even be profited from. The only constraint is that you must release it under the same parameters, as there are no patents or copyright attached. This wild card factor allows for the strangers to work collaboratively in a way that though not new, is more predominant in today’s society. In her talk ‘From Mari to Memphis’, Catherine Rossi regales a story about a side note on instructions from an Enzo Mari furniture pack in 1973, ‘The author asks those who build the furniture and in particular those who make variations of it to send a photo to his studio’.

This practice is noticeable in areas such as software development, we had a great talk by Leonardo Bonani, ‘Tools and tool makers of the Bazaar, new paradigms in computer aided craft’ in which he discussed nature of Cathedrals and the Bazaar. The practice of making the tool that makes the object and making them both available, allowing innovators to flourish and remake products in new ways. Bonani also runs a course, Future Craft: Radical Sustainability in Product Design in MIT, in his course description he states:

“The objects we make are the channels that connect us with materials, cultures and individuals around the world. Production practices shape communities and politics. Individuals are defined by the objects they have at their disposal. At every level, designers have the power and the responsibility to define not only how to make things, but what things should be made.”

In a the practice of Design Ethnography, where the introduction of workshops and participatory design leads to new interactions with individuals, we should learn from these teachings and that of prototyping. What is the objects that we are using to communicate, does it give the individual the opportunity to speak and interact at the upper most level? After all ‘individuals are defined by the objects at their disposal’. In addition we should question, how are we prolonging the interactions and conversations? Where in our process should interactions and conversations begin and how long should they last? Should they be revisited and is this a viable option in academia and industry?

Lesson: Evaluate, then improve, my ability to select, use and create objects to instigate interactions with different audiences.

So my task now is to take all these lessons and try and incorporate them into this project. At the end of our project we are traveling back to Ireland to hold a workshop at Intel Ireland, we hope to have addressed the questions above and have a day in which we manage to pass the baton, the baton being our research completed over summer. If you would like to talk about anything just drop me a line, or make me a prototype.

Discovery 1: Prototypes can spark conversations

2010-06-15T16:59:00.010+01:00

The Prototype Symposium 2010, brought together a varied group of practitioners exploring theory, practice and recounting experiences. Yet before the speakers even began I was taken on a journey with the prototype exhibition in the foyer, these projects lead me to two new discoveries.

Prototypes can spark conversations: The work of Sarah Kettely was exhibited in the foyer of the Dalhousie building, Aeolia takes the form of stretch sensors embedded in clothing collecting data such as movement, light and or sound, a textile led enquiry designed for a cellist. It is stated that the ‘final application is kept deliberately vague’, for its purpose was to explore how materials, form and weight would interact in reality. Its existence as a prototype creates a conversation piece, how would you use the data created?

I am currently doing my masters in Design Ethnography, here we explore qualitative data method collection such as interviews, observations and participatory design research. The question I would ask myself is how would the data from a project like Aeolia further my work and understanding of my participant group. I am doing a joint project with Caoimhe, looking at older people and game play. Would I get older people to wear an object like this, instead of a cellist. Could it offer an inside look at their daily movements? Would it give another level of insight into obstacles that they face when interacting with objects, spaces and games. The answers are not present but the conversation is.

The physical form of prototypes and its connection to sparking conversations was commented on by Constance Adams, Space Architect in the first panel session of the day. Constance talked about her push to take the prototype from screen to physical model ‘as soon as it’s physical, you can see what is wrong, 2d simulations on computers are hard to critique’. I had always perceived a prototype as an object used in the design process when initial concepts are under construction and the physical shape and interactions has to be explored and tested. Yet the prototype by Sarah Kettler, designed for use on a Cellist can be reused by other researchers to instigate ideas for other types of data collection. The way I understand it is that you have to get people asking the question, 'what can I do with it?', this is where conversations begin, attachment and relationships are forged to new ideas, possibilities and eyes are opened to what is not currently being done. When you get people talking it allows others to understand 'what they do', people can connect to this and magic can happen. The fact that a prototype can create conversation makes it a tool, it seems tools can come in different shapes and sizes.

Lesson: A prototype is a tool, look at how you can get your audience to talk with it.

The Prototype and the Design Ethnographer

2010-06-15T13:13:00.009+01:00

I could write a book about all that I learned during the conference!

However I will force myself to narrow it down to my 3 main takeaways :

"Prototypes can help you find the thing you weren't looking at"

As ethnographers we are trained to observe and look at everything from every angle - but there is always something you can't or don't see.

Prototyping is another tool or approach which can help you look at a problem or research area from a new perspective.

"Prototypes can bridge boundaries"

One of the biggest issues facing design ethnographers is how to bridge the gap between research and design.

As an ethnographer the last thing you want is your insights and research to just sit on a shelf - you want it to be used in the creation of something tangible - having prototyping as part of the design ethnographer's toolkit is one way to do this?

"Prototypes can open up the research and the design space"

I had previously thought of prototypes as a way of beginning to close down the exploratory phase of a project - moving on to the concept phase. As a result of the conference I have seen that they can be a great tool for opening up the space and can be used at the very front end of the project as a conversation starter and method of engaging with your participants.

Starstruck

We also got to the chance to speak with experts in their field such as Liz Sanders, Colin Burns and Michael Schrage who were extremely friendly and generous with their advice - Liz Sanders even gave us one of her 'Velcro toolkit' prototypes to keep in our studio!

And they say you should never meet your heroes......!

In conclusion:

The event was fantastic and very relevant to my practice. It shattered the preconceptions I had about the role of prototyping in research. The range of speakers all had very different ways of using prototypes which resulted in some lively discussion and debate.

If the symposium were to be held again (please, please hold it next year!) I would have just one request - that we have a prototyping workshop during the event itself!

Prototypes - approach with caution?

2010-06-14T17:17:00.023+01:00

In the opening talk of Day 2 Glen Adamson presented us with the idea that a prototype can be a positive or negative thing.

A prototype can be used to persuade, to sell a vision - which can be slightly sinister in some cases. It can trick us into a false sense of security, letting us think we are seeing something completely resolved which can prevent us from questioning and exploring - 'a prototype can be a troublesome thing.'

During the discussion that followed the morning session Rosan Chow defended the prototype from this level of criticism, telling us that prototypes do no harm - it's the way people use them that can be harmful - or as another delegate put it - 'Guns don't kill people, people kill people'.

I had never previously thought of a prototype as something which could be negative - that it's powers could be used for evil rather than for good!

During the short film 'The American Look - A tribute to the men and women who design' you see the management team looking over a slick prototype of a 1950's Chevrolet. They glance at it, then shake hands with each other, nodding and patting each other on the back before heading off to smoke their pipes.

Still taken from 'The American Look'

I have to say that this is never the way I have seen a prototype treated in industry.

In my experience prototypes are scrutinised, pulled apart and questioned

The type of analysis required from different groups and the type of prototype required can depend on who the audience for your prototype is and at what level they will need to engage with it.

Throughout the conference the 'rough and ready', lo-fi prototyping method was a popular approach for our speakers. This reinforced the idea that a prototype was an unfinished, developmental tool.

Stuart Brown presented a slightly different angle. The high flying, time poor surgeons he was designing for would not have engaged with a basic prototype and so the design team employed high end rapid prototyping techniques to present their concept.

This Symposium as a Prototype?

It was mentioned on several occasions that this conference was a prototype. If so, did it fulfil the 'characteristics of a prototype' which were discussed over the two days?

The event was exploratory, opened up a discussion space, brought people together across different cultural and professional barriers, sparked conversations in the lecture theatre and outside.

Michael Schrage, Alex Murray-Leslie, Cat Rossi, Liz Sanders and Chris Van der Kuyl

The symposium was a carrier of many different types of knowledge which the delegates could pick and choose from according to their interests and experiences. The conference has also helped us make some sense of the future and explore where craft, design and prototyping is going.

In my opinion all the characteristics of the best kind of prototype!

Prototype Symposium: A summary

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Dr Louise Valentine, Duncan of Jordanstone College of Art & Design, one of the main organisers of the symposium

In her closing address, Dr Sarah Teasley from the Royal College of Art responded to the question that if everything is a prototype, then surely the very symposium we were attending is one as well.

Indeed it’s fair to assume that everyone in the audience had opened up to new thinking on the term. Before I came, I was under the impression that a prototype is just a mini version of something and I’ve left (writing this on the train back to London) realising that prototypes are something else completely, in fact their scope is so huge I’m not sure if I can condense it.)

Over the two days we heard from some a diverse range of speakers in fields ranging from art to science to craft to space to architecture, music and beyond. Topics discussed included innovation, style, design, utopia and performance art and all attempted to describe their own interpretation of prototyping, referencing the craft within that process.

The meaning of what is a prototype also differed between discussions. We heard that they can be unstable, provocative, used for demos, to persuade, as actual artefacts, as process……..it was really quite a minefield. But as one person I spoke to said to me during the tea break, ‘this is an event that will be remembered, and those who missed it will be gutted.’

Final words by some of the delegates who attended:

Lisa Cresswell (left), University of Dundee: ‘It was a really good range of speakers, Constance the Nasa speaker was my highlight.’

Sandra (right) , University of Dundee: ‘Great to see so many disciplines mixing, I was blown away by the Nasa speaker and am still processing her presentation, I couldn’t get enough of it!’

Lizz: ‘The event has shown me that prototyping is vital and I believe in it.’

Keith Faskin (left), ITT Defence Ltd: ‘I liked the diverse concept of prototype and the different ways it’s perceived’

Friedemann Schaber (right_, University of Northampton: ‘For me it’s been a great networking event, being able to meet others in the field’.

And that’s a wrap. It’s cheerio from me. I hope my musings on the Prototype Symposium made sense to you, it was a real pleasure blogging at the event. I’ll leave you with my favourite moment; a photo of me meeting two of my idols at once – Faith Levene (Handmade Nation) and Alex from Chicks on Speed.

Academia in the afternoon

2010-06-11T16:07:00.006+01:00

Catherine Rossi

I didn't get a chance to sum up the afternoon sessions on Day 1 so I'm combining Day 1 and Day 2.

Day 1

Monday Afternoon speakers

Catherine Rossi ‘the role of prototypes in italian radical and post modern design.’

PHD student Catherine began her speech with a Through the Keyhole style introduction showing us the homes of celebs who’ve had their homes kitted out in Italian ‘Memphis’ furniture. Memphis was a Milan based collective of young designers headed up by the more experienced Ettore Sottsass. The collective designed Post modern fabrics, ceramics, glass, metal and furniture throughout the 1980s. Their bold use of acid colours and fake finishes was a reaction against the more conventional styles that had emerged in earlier years exploring kitsch 50s inspirations and futuristic concepts.

For someone who detests drawing and likes to get straight in with the making side, I found her talk a relief. I’m a hobby crafter and I’ve always got projects on the go but I’ve never been a fan of drawing on paper first or maybe I should feel ashamed to say, making prototypes (cough). The group challenged design by not following strict design processes – it wasn't just their work that was unique, so was their method – using no drawings or designs – it was more of a verbal communication between the designer and maker. I guess this it was we would call a kind of 'abstract prototyping' as it’s designing in the head. There’s no physical object to show ideas or suggestions – it’s just 'here it is', this is the product. This method works because the designs were so unusual – while conventional designs require more conventional methods, these post modernist designs didn’t. I like the fact this point was included in the selection of topics as again it showed a completely different take on what ‘prototyping’ is all about.

Michael Schrage from MIT also spoke about The Purpose of Serious Play and Dr Elizabeth Sanders from Maketools talked about Prototyping for the Design Spaces of the Future.

Day 2

Professor Norman M. Klein, California Institute of Arts: Embedded Media and the ‘Futures’ of Material Culture: Synopsis for a future essay, an emerging history of parallel words

Norman gave us a sneak preview into his new project, a novel/DVD/art piece called The Imaginary 20th Century. Explaining this through a selection of archival images, photos, illustrations, covers, designs, he spoke about the role of ‘embedding’ revealing some fascinating ‘past' takes on the future – in essence this showed just how unstable prototyping can be.

For example he showed illustrations of the year 2006 drawn in the 1970s, but sci-fi as full of prototyping as it is, never quite turns out that way. And yet at the same time, they do, but just in different circumstances – the examples were endless, in fact he has over 2000 of them. Being a cultural critic, urban and media historian, Norman’s approach was certainly different. I can’t explain much more than that so recommend you check out his website
Professor Pieter Jan Stappers

ID-StudioLab, University of Delft: Prototypes as Central Vein of Knowledge Development

The afternoon kicked off with a vibrant session by Pieter Jan Stappers who is professor of Design Theory at Delft University of Technology, Netherlands where he leads a group of researchers and educators that focus on the early phases of design, including mapping user contexts and exploring understanding through prototypes. His talk was about how prototyping can contribute to research. It was a fast paced session with charts and tables but it was his last slide that summarised his thoughts and made the most sense (to me anyway!) These were his 5 ways in which prototyping can contribute to research:

1. It confronts the world (so it has to work)
2. It confronts theories (you can’t hide behind abstractions, this is it!)
3. It communicates outside the core team (it’s not to be kept to yourself but can be shared, demonstrated and discussed with others)
4. It can test a theory (on numerous occasions, we’ve heard at the symposium that a prototype can be seen as a hypothesis)
5. It changes the world (a big statement that can be left to your own interpretations.)

Dr Rosan Chow from Deutsche Telekom Laboratories also spoke about a design method called 'Rip & Mix.'

Prototyping and art

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Speaker: Simon Starling, Conceptual Artist: Five Thousand Years (Some Notes, Some Works)

Being at a craft symposium, it’s refreshing to hear from an artist and their take on prototyping. Simon Starling is a conceptual artist and was the winner of the 2005 Turner Prize. He talked about his fascination with transforming objects into new through using existing objects, installations, and pilgrimage-like journeys that he’s been undertaking for over a decade.

One of the most interesting points he raised was about time, how that in prototyping, although it takes a long time, once a prototype has been made, it’s all about speed, getting it out there before someone else does - while he is the opposite, and likes to slow things down.

An example he gave was needing balsa wood for a project, rather than going to a hardware shop he decided to go to Equador to get his materials. A waste of time ornecessary because it stays true to what he believes in? In art does one have more time to indulge in things like that because in industry this would never be possible would it?

While he talked us through some of his past projects, the one that stood out for me the most was a concept he about different people creating a cupboard, but making the same cupboard using instructions that were emailed to them. It touches on prototyping in a different way – the fact that several different people can try and make one prototype but end up with something slight different and I really like that. It’s just like following a recipe but unlike a recipe, a prototype shouldn’t have the same creative license to make changes otherwise it will lose it’s intention and I guess that’s one of the many things that makes prototyping so unique (and as the symposium is showing there are hundreds of things about prototyping that most people have never thought of before!

Too much R&D?

2010-06-11T12:16:00.005+01:00

Speaker: Dr Stuart Brown, University of Dundee : Prototyping for High Value, Time Poor Users

From hearing an artist talk, to the views of a mechanical engineer, Dr Stuart Brown leader of the Surgical Technology Group, an R&D group at the University of Dundee, closed the morning session with his take on the ‘value of prototyping.’

Prototypers can spend years investing (both time and financially) designing a product that in 20 years time can become cheap and everyone has one…indeed I can’t believe the number of people who have an i-phone. Is this something we should get frustrated about or is it just the way of the world?

When I was growing up I remember my mum used to spend two hours cooking up a fresh curry, only for it to be gobbled up by the family in five minutes. It’s a fact of life that research and making (and cooking!) takes ages and when you get to the end product all that gets forgotten. Chicks on Speed’s guitar stiletto is another example, when you see it on display at DCA, you could never imagine the process that went into making in, the fact Alex explained the ‘tale’, makes seeing the shoe in real life so much more impressive.

But can we keep going this way? Isn’t that why he have computers these days to make the design process quicker/easier and cheaper? Would digital prototypes suit a client’s needs or is a physical product still expected?
Stuart put forward some of his opinions with reference to the design process of tools in the ‘surgical’ industry.

Clearly there are benefits to the technical approach – its quick, does the job and adds some prestige. So why aren’t we doing everything by computer instead of clay? Doesn’t real life need things to be done the real way? As we heard yesterday in the aerospace world, the construction of lifesize prototypes are still necessary in that industry.

One of the points that Stuart raised was that he is required to make high value products but because his clients (top surgeons) are time poor, they aren’t always available to get involved in the collaborative process prototyping requires, and that’s where the problem lies. This led him to talk about ‘abstract prototyping’.

Prototypes are vehicles of concept, and to show someone your concept you need to give them some sort of visual aid, whether that’s a physical object or virtual construction. The ‘debate’ itself is not one that was ‘solved’ in the talk but it’s certainly something for us to think about. My own interpretation is that you need to adapt your prototyping to each situation, I’ve never been a fan of spending ages and ages in R&D but clearly it’s vital in some industries and as makers/designers/artists etc, we should be respectful of that – there are always things to be learned from the way other people do things.
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Prototype Symposium:Start of Day 2

2010-06-11T10:23:00.005+01:00

Dr Glen Adamson’s (above) (Deputy Head of Research at the Victoria & Albert Museum) introduction to Day 2 began with a short Hollywood style docu-movie depicting what happened behind the scenes of the ‘design process’ back in car production in late '50s Detroit. It was shown as a ‘secret undercover operation’, M15 style – taking place behind closed doors - here ‘dreams’ were created and tested in rooms that looked as though they had been decked out in the paint sample cards you find in B&Q.

Although the film was made 50 years ago it still resonates with what happens in design today. When you see a finished car automatically you’d see it as mass produced - the opposite of craft when in fact the prototype design process that comes before a car is made couldn’t be any craftier - for example initial parts were tested in clay before being made from the real materials. It goes to show that every design process has crafts present in it. Which begs the question why doesn’t craft command more respect? Why is it subordinate to art?

This was touched on by Dr Frederic Schwartz who teaches History of Art and Architecture at University College London in his talk ‘Prototopia:Craft, Type and Utopia in Historical Perspective. He talked about craft in the pre-modern era stating it started to decline before technology took over.The prototype on the other hand is, and always has been a craft.

Being a non-academic, I’ll admit that I couldn’t make sense of all his theories. But what I did pick up is that prototyping as craft is not just about Future Craft, it just as much represents crafts in the present – look at the production of any product whether it’s a phone or a kettle, it started life as a prototype; it does things products before it haven't done – this is the present, the future is what it goes on to become. Maybe that’s a really simplistic interpretation but I’ve never viewed the present in that way so it’s given me something to think about at least!

Chicks on Speed: Guitar Stiletto Shoe

2010-06-11T09:27:00.005+01:00

Alex in a DIY limited edition dress

How does one describe Chicks on Speed? A hybrid of art, pop, music, DIY fashion, performance, filmmaking, poetry, makers, designers, creative’s and the kitchen sink rolled into one would be one interpretation, but perhaps their appeal is more to do with not knowing how to categorise them?

The there two founding members of the ‘clan’, Alex Murray-Leslie and Melissa Logan and after 14 years together (and with hundreds of collaborations, projects, agendas, achievements under their belt) the girls are currently celebrating an exhibition of their work at Dundee Contemporary Arts. On display are some of their films, zines, protest banners, home made instruments, clothing, posters, textiles, photos and music. Alex attended the symposium specifically to talk about their recent venture – the construction of a shoe guitar.

Firstly though she gave us a potted history of the ‘girl band project’ who went on to shake up the notion of what a girl band can do and achieve.

These highlights included:

Paying their way through art school by selling alcohol at impromptu parties in Munich

Selling a fake box set (when they only had one song)

Getting a major following thanks to coverage in the NME

Exhibiting internationally

Using their naked bodies as instruments

Constructing clothes and textiles that make music

The girl's fake box set

The girls imaginations knows no boundaries and once they decided stilettos that double as guitars, was their next adventure nothing was ever going to stop them, even if it meant name dropping Lady Gaga in order to get attention.

And so began a journey across the world collaborating with shoe designers, technologists and manufacturers until after many, many failures the shoe was born just a couple of weeks ago. They have already been played at an inaugural gathering recently, but are now on display in the exhibition until Lady G’s stylist comes calling.

What a shoe!

Listening to Alex and seeing the exhibition was completely awe-inspiring. COS are the kind of role models that every girl in the UK should look up to rather than being sucked in by talentless reality TV stars. If only Alex could go and deliver the same speech in assembly at every girl’s secondary school in the nation we might have more motivated and inspiring guerrilla groups among the next generation.

Musical tapestry

Day 1 - the Power of......

2010-06-11T07:46:00.027+01:00

Credit: NASA, 1968

During the first talk of the day Constance Adams stood in front of this photo and told us - “there's no barriers - its all one planet”. For me, this set the tone for the first day of the Prototype Symposium ,which provided the audience with a heady mixture of craft, design, architecture, business, art, science, and engineering.

People Power

A common thread running through all the talks was 'openness', a willingness to share information and ideas, collaborate and participate. Constance also informed us that the current space programme is made up of many countries working together - something which would have been unimaginable in the past. If former 'sparring partners', the US and Russia, can collaborate to achieve a common goal then why not business, the creative arts and science?

There was a feeling of grass roots activism afoot, a desire to work from the ground up, for people and with people – as Michael Schrage put it – “it's no longer DIY it's DIW – Design it With who?”.

A different world has begun to emerge during the last few years. People no longer want to depend on the 'Cathedrals' that Leonardo Bonnani spoke of but are looking to the 'Bazaars' for ideas, inspiration, innovation, community and authenticity. This was also a theme in Faythe Levine's fantastic film 'Handmade Nation' (which was screened as part of the Symposium at the DCA on Wednesday night).

Hazel White mentioned the special role that craftspeople and makers have – a deep understanding of the raw material they work with and the resonance and meaning that these materials have with people. This was evident in her 'Hamefarer's Kist' which utilised familiar materials – wood and wool - to create a piece which would engage even the most diehard technophobe.

Here is a video of the 'Kist' in action:

This idea of approaching design from a very human level arose during the discussion which followed the morning sessions when the panel discussed the idea that our bodies do more of our thinking than we realise. In many cases we have become dependent on machines to do things for us, however, as Leonardo pointed out we are not as dexterous with an ipad or a keyboard as we are with a fork. Alex from Chicks on Speed showed us a fantastic example of this as she and her collaborators actually used their own bodies as instruments with their 'bum-slap' percussion! Perhaps we need to trust ourselves and our bodies more and move back to more physical ways of engaging with objects, ideas, technology and each other.

The Power of the Prototype

The physicality of prototypes and the innovation which can occur when designers and users interact with prototypes arose time and time again throughout the day.

According to Liz Sanders prototyping can and should occur at every stage of the design process and can help invite people into the conversation. A big part of Liz's approach is getting people to make rough prototypes and then talk about them - often they do not end up talking about the prototype but about their real feelings on a issue.

Hazel spoke about the bond which is created by 'making' with your participants and end users – this process relaxes them and allows you to ask probing questions and gain an insight into their lives.

During the panel discussion it was mentioned that it is easier to have a conversation around a prototype than around a screen and that prototypes can even help when dealing with professional and cultural language barriers.

The Power of not being Precious

Micheal Schrage described the idea of working closely with your participant, requesting feedback and inviting comment as 'Show and Ask' rather than 'Show & Tell.' Indeed this idea is not as new and radical as we would like to think, Cat Rossi showed us the example of Alessi designer Enzo Mari's DIY furniture. As far back as 1974 he was giving people the template to make their own 'designer furniture' out of cheap material which was available to them, inviting them to modify the design and send photographs back to him.

The Power of the Process

This was a common theme throughout all the presentations but, for me, it was Alex from Chicks on Speed who tied everything together when she spoke of the moment she and her collaborators realised that "the interesting bit is the process, not the final perfect thing”.

It was a privilege to gain insight into the processes of these amazing innovators on Day 1 – I can't wait to see what Day 2 will bring!

Welcome to Dundee!

2010-06-10T22:27:00.009+01:00

Hi there!

We are Kate and Caoimhe. Unlike Momtazbh we didn't have to suffer the sleeper train to attend the symposium as we are lucky enough to be students here in the University of Dundee on the Masters of Design Ethnography course. We are really excited about the conference and are going to be blogging about what we see and hear over the next two days!

Future Jewellery

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Speaker: Hazel White, University of Dundee: Crafting the Idea

If your jewellery had another use, other than just being an attractive accessory, what would you make it do?

Jewellery designer and Programme Director of the Masters of Design Programme at the University of Dundee Hazel White let us in on her research into this very question. Telling Tales is a project that uses jewellery to explore digital scrapbooks with the specific intention of making communication easier for older people who are less mobile.

Hazel began introducing how her relationship with jewellery developed. While studying for her MA she explored whether jewellery could become permanent parts of our body. She gave us the example of a wedding ring that can be surgically screwed to your finger…painful yes? Necessary…not sure… The Future of Craft? Maybe!

But rather than exploring ‘permanent jewellery’ her research took her down a more anthropological approach,looking at the significance of charm bracelets so see how people react to their jewellery. After gauging opinions following a six week test the types of answers people came up with were about monitoring, similar to how ‘baby monitors’ work i.e. their jewellery could be doing a job. Sounds strange that the jewellery function comes first and the function second but it’s also a refreshing concept. The use that would appeal to me, would definitely be the ‘Oyster Card’ approach, but could something so useful be attractive too or is it like how a lot of ‘organic cotton clothes’ are actually quite ugly, they are ‘good’ but ‘bad’ at the same time.

Hazel’s work led her to her project Hamefarer’s Kist based on research she has undertaken with older people in the Shetland Isles. Her concept is a knitted remote control. Whereby a person has a box of knitted cushions, each cushion represents a person and when that cushion is lifted up they can receive an up to date ‘photostream’ from Flickr of that person, making it an easy and accessible way to keep in touch with relatives without the complexities of using a computer that actually aren’t very useful for people with mobility issues.

Overall verdict?
Wow! I can honestly say that other than a t -shirt I’ve seen in Argos that tells the times in LED lights across your chest, I have never thought of jewellery other than in an artistic/fashionable sense. I have made and sold bracelets that double up as money pouches and belts that have pockets on them but they are very typically functional. Giving jewellery such a personal meaning opens up a whole new world. The future of jewellery is truly sci-fi and as for knitting being part of the grand scheme of things – perfect. Everyone’s knitting these days and this application is taking it to the next level.

Sustainability via IT

2010-06-10T11:50:00.005+01:00

Speaker: Leonardo Bonnani, MIT Media Lab. The Tools and Tool-Makers of the Bazaar: New Paradigms in Computer-Aided Craft

‘Science doesn’t advance, it’s pushed and that’s what prototyping is to me,’…is how Leonardo Bonanni introduced his take on Prototyping. With a background in architecture, Leo has been teaching a course called ‘Future Craft’ at the MIT Media Lab for three years. The course is about about making product design sustainable – but not as we know it. We’re not just talking‘reusing materials’. He introduced us to alternative ways to be sustainable, mainly by making what you need, when you need it and sharing the specific knowledge and tools you need to do that task via computer aided solutions.

So why does something need to be made in the first place Leo outlined case studies of new products that can help people all around the world, like wheelchairs that can go up stairs and wearable computers for soldiers. He also shared some of the trends in sustainability that he’s seen over the last few years.

These include: Being Open – making your designs available to everyone regardless of the resources they have, using your own tools but also making them available for mass production and being Virtousic; finding ways to express the skills you’ve developed over years like a potter going digital so we can share their your knowledge.

Sustainability is clearly more than just a buzz word and it’s good to see it interpreted in new ways to what we're normally exposed to. Leo gave us all something to think about – especially when you think about people who are precious about their crafts. Some crafters/makers/designers/artists etc hate sharing their work or telling you how they do things but if we don’t open up and teach others, skills can be lost and in this sense sustainability is essential for the future of craft and other industries.

Mission to Mars

2010-06-10T11:13:00.001+01:00

Speaker: Constance Adams - Synthesis International: Techne and Logos at the Edge of Space

There’s thinking big and thinking BIG, but nothing is as big as Space so it was an intriguing start to the event to hear from Constance Adams, a specialist in high performance architecture, design and innovation for human spaceflight…..in other words, a spaceship designer! She’s the scientist everyone wants to be when they’re a kid – a Nasa consultant and her talk was about the craft of designing and building an environment that humans can survive in on a mission to Mars.

But we’re not talking mini modelling….as Constance explained, when you’re designing for space flight, you need to create full-scale models. She’s been involved in designing prototypes of full size living quarters for six astronaut to survive a 180 days trip to Mars for 15 years. Her work involves designing and testing everything an astronaut could possibly need on their space mission. Making furniture for variable gravity, thinking about sleeping and eating: all these things need to be designed on the ground through physical prototyping – that makes a lot of sense….but there’s also other aspects to consider.

Sending things to space is hugely expensive; it costs an estimated $50,000 to orbit a kilo of weight so space travel literally is ‘travelling light.’ But how does an astronaut know what they might need..for example what if a lighbtbulb blows…..taking lots of spare light bulbs would be expensive, what if they were able to make their own while they were up there?? (It’s not like they can be couriered supplies…)

DIY space crafting is just one of the areas Constance is looking into – equipping astronaut with knowledge to make things to help them survive, doing simple DIY with materials they have with them just as we may do an odd job with things we have lying around, the same is possible in space and was done once when a solar ray needed repairing - the team figured it out.

To conclude she left us with some words from Scrimshaw ‘craft keeps you sane in long slow hours’….spending 180 days in space can obviously get dull, although the team are busy completing specific tasks the novelty factor of looking out of the window wears off after a couple of days. So what could our astronauts get up to in their down time?? What about doing some hobby crafting??? Anything is possible in space design, every material would need to be prototyped (they already need space pens as an ordinary biro doesn’t work in space!)..so space friendly knitting needles wouldn’t be so peculiar.

It would certainly inspire them visually, most space rockets after all have totlaly whitewashed walls so it’s hard to know when your upside down or not….but brightly patterned interior fabric panels could change this.

What a fascinating insight. It’s so rare you get to hear from someone who’s job is something to do with Space….but to find someone who’s talking about the relationship between space and craft? The symposium is already living up to it’s name….it’s definitely about Future Craft.

Prototype Symposium:10-11 June 2010 - About to start!

2010-06-10T09:26:00.007+01:00

Hello!

I've survived my 9 hour sleeper train journey from London to Dundee (estimated 3 hours sleep) to keep you up to date with the the event, live as it unfolds!

I've been blogging about crafts for quite a few years, it's my passion. From new developments in the UK crafts industry to emerging artists, I try and keep up to date with important crafty news with the aim of sharing it with other like minded people.

I'll be blogging throughout the next two days, covering all aspects of the event commenting on the the speakers and discussions. Here goes....it's just starting!

Glenn Adamson at COLLECT 2010

2010-05-27T13:50:00.000+01:00

Listen to an excerpt from the V&A's Glenn Adamson talk at COLLECT 2010, http://www.youtube.com/watch?v=m62nm7bfB2I

It's from the seminar 'The Speed of Craft: Presented by Think Tank, A European Initiative for the Applied Arts' at the Saatchi Gallery, 14 May.

There is a publication from THINK TANK entitled 'Speed' which documents their 6th meeting and exhibition. ISBN 978-3-85474-224-1.

further info at http://www.thinktank04.eu/page.php?3

Cutting Light

2010-05-27T09:51:00.000+01:00

An exhibition of new work by glass artist Jessamy Kelly
29th May – 19th June 2010

Queen’s Gallery,
160 Nethergate,
Dundee, DD1 4DU

A solo exhibition of new work by glass artist Jessamy Kelly will open at the prestigious Queen’s Gallery, in Dundee in May 2010. The material quality of glass and its reaction to light intrigues glass artist Jessamy Kelly; she harnesses the light in her work by cutting away the glass to reveal the inherent luminosity if the material. Minimal amounts of cutting and engraving are used to shape her sculptural work. Jessamy’s work shows balance, precision and great delicacy. Jessamy has recently completed her PhD in Glass and Ceramics at the University of Sunderland and is currently Artists in Residence at Edinburgh College of Art. Her work has been exhibited widely throughout the UK as well as internationally in France, the Czech Republic, the Netherlands and the United States. She has won many awards including the Craft and Design Magazine Maker of the Year Award in 2009.

This exhibition is part of the new national initiative Craft Festival Scotland conceived by the Past Present and Future Craft Practice researchers at the University of Dundee.

Chicks on Speed - come to Scotland!

2010-05-05T11:49:00.001+01:00

Chicks on Speed: ~~Don’t~~ Art, Fashion, Music

5 June – 8 August

Press view: Friday 4 June

This is the first major solo exhibition in the UK of Chicks on Speed; an ever-changing multidisciplinary art group who apply punk-inspired DIY ethic to interrogate the boundaries of art, craft, fashion, music and new media.

Known globally for their melting-pot-style – encompassing cutting-edge pop music, performance art, a record label, collage graphics, painting and DIY fashion. Chick’s on Speed’s practice is chaotic and firmly against sedative art. With their tongues firmly in their cheeks, they are happy to court controversy.

The exhibition will open with a live art performance for invited guests on 4 June; featuring the ‘e-shoe’ – the world’s first wireless high-heeled shoe guitar, made in collaboration with Siberian-born shoe designer Max Kibardin and Hangar.org. These shoes will be unveiled alongside Chicks on Speed’s ever-growing collection of self made ‘objekt instruments’ – cigar-box synthesizers, super suits with sewn-in body sensors that trigger audio/video samples and two hats made in collaboration with Christophe Coppins and Hangar.org, based on illuminated drawings of Hildegard von Bingen, a 12^th century Christian mystic who received visions, composed ethereal airs, performed healings and even founded convents. These hats transmit the utterances of their wearers by way of microphones and speakers.

The DCA galleries will be further transformed into a giant stage and studio set for making music videos, experimenting with no-choreography and ongoing craft projects live, including loom-weaving inspired by Bauhaus design, lectures and workshops, film screenings of their fashion archive and selected video pieces. Chicks on Speed have been working with local and international artists and makers to combine traditional craft with cutting-edge technology.

Further highlights include a Theremin tapestry based on theremin technology, woven by The Victorian Tapestry Workshop, Australia, with hardware from Andre Smirnov @ the Theremin Institute in Moscow in conjunction with hangar.org. A series of print based artworks produced with the DCA print studio and Fashion Archive.

Judith Winter, curator of the exhibition said:

““DCA are interested in working with artists that challenge the institution and the context of the gallery. Chicks on Speed’s practice blurs the boundaries between creative disciplines but much more than that - their work counters political correctness and employs a range of feminist strategies that support creative radicalism. I wanted to see if we could also hint at some of the connections in their practice to the history of interdisciplinary practice.

“Many of our early discussions were around the Bauhaus and in particular Oskar Schlemmer performance of the Triaddich Ballet. Conversation soon transgressed to the status and visibility of women within the Bauhaus - on to activism and early modernist performance through to conversations around the political actions of Valie Export in the 1960s.

“Anyone who is also interested in fashion or wanting an anecdote to global consumption should enjoy some element of the show. We are looking forward to the unexpected!”

To coincide with the exhibition DCA are co-producing a book with Booth-Clibborn Editions that will be launched in September 2010. There will also be a series of events, films and workshops surrounding the exhibition. For further information visit www.dca.org.uk

Chicks on Speed: ~~Don’t~~ Art, Fashion Music is part of Craft Festival Scotland.

Gallery opening times: Tuesday – Saturday 10.30am - 5.30pm, Sunday noon – 5.30pm. Closed Monday except Dundee Public Holidays. Entry to the galleries is free. Tel: 01382 900 900.

Dundee Contemporary Arts, 152 Nethergate, Dundee, DD1 4DY

www.dca.org.uk

www.chicksonspeed.com

Follow COS on facebook.

For more information, interviews and images please contact:

Teri Laing, Head of Marketing

Teri.laing@dca.org.uk
Tel: 01382 909241

Craft Australia

2010-05-05T08:26:00.002+01:00

There is always lots of fantastic work and events going on at Craft Australia (CA) and if you've not managed to sign-up to hear what they are up to, here's some info to help you.

In the May 2010 issue of CA enews there is a contemporary jewellery focus and roundup of the JMGA conference held in Perth Western Australia 2010:

Craft Australia publishes a free online news letter, CA enews every month http://www.craftaustralia.org.au/enews/

The subscription to CA enews is free and I would like to invite you and JMGA members to. Subscribe at: http://www.craftaustralia.org.au/subscribe/

There is also an archive link to previous newsletters:
http://www.craftaustralia.org.au/newsroom/newsletter.php?id=index

Craft Australia is celebrating its 40year anniversary in 2010 and as part of the celebration has set up a flickr page to showcase Australian studio craft and design. They are continually uploading images to this site and a number jewellery and object images has been uploaded with many more to come.
http://www.flickr.com/photos/craftaustralia/

The Craft Australia calendar promotes contemporary craft and design through exhibitions, workshops, opportunities, conferences and trade fairs. They have listed a number of contemporary jewellry and object exhibitions and opportunities in the online calendars. http://craftaustralia.org.au/calendars/about

Handmade Nation, directed by Faythe Levine comes to Scotland

2010-05-01T09:12:00.017+01:00

Wednesday 9 June 8 p.m.
Dundee Contemporary Arts, Dundee, Scotland

Handmade Nation documents a movement of artists, crafters and designers that recognise 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, Handmade Nation explores a burgeoning art community that is based on creativity, determination and networking.

In 2006 first-time director Faythe Levine travelled to 15 cities, interviewing 80 individuals. Levine captured 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. Interviews were also conducted in artist studios and homes of the featured makers. Faythe Levine will introduce the screening and participate in Q&A session afterwards. The event is part of the Prototype Symposium, co-convened by Duncan of Jordanstone College of ARt & Design and the Victoria and Albert Museum, London, which is taking place June 10-11th in Dundee. BOOK NOW: www.dca.org.uk/whats-on/films/handmade-nation.html

Stitched Up

2010-05-01T08:42:00.003+01:00

If you’ve never been to a Friday Night Late event at the V&A, make a date in the diary! They are held on the last Friday in every calendar month. My experience is they are full of energy and fantastic fun! Last night’s ‘Stitched Up’ was no exception. Organised to coincide with ‘Quilts 1700-2010’ exhibition, curated by Sue Prichard, the evening was buzzing with activity. There were 15 activity options, catering for a range of tastes. Occurring inside the building and outside in the gardens, the event ranged from an alternative garden tea party to craft activities with both emerging and established practitioners.

I began by engaging in The Stitch Surgery supported by Coats Crafts and volunteers of The Quilters’ Guild. A fantastic little ‘how to patchwork kit’ was provided from which you were encouraged to take a seat and get making! My attempts to follow the instructions in the pack were made easier by the encouraging chatter from fellow ‘stitchers’ perched beside me in the Grand Entrance and, the 1950s jazz music being played in the background. (To give an indication of how successful the surgery event was, I understand 1000 packs had been prepared, and by 7 p.m. only 30 minutes after the evening had started, all of them were gone! By any event organiser’s standards, that’s impressive.)

Following this, I took myself off to the Lecture Theatre where ‘Domesticity and Creativity’ in craft were being re-evaluated. A round table discussion with Sue Prichard, textile artist Caren Garfen, (creator of ‘How many times to I have to repeat myself ‘ which was commissioned for the exhibition) and Janice Langley, Trustee of the Women’s Institute (WI) was the means with which this subject was aired. The focus was given to why investment in the home is a way of redressing the work/life imbalance fuelled by contemporary technology. In essence the talk asked, Is taking time out a luxury or necessity? What value does it offer?

The view and discussion of craft, at times appeared to be at odds with my recent research, which focused on understanding craft as an intellectual rather than skill based activity. However, the emphasis on learning new skills via communities to support self-sufficiency (especially in the home) and social networking is an integral aspect of the craft continuum. Indeed, the presentation by the WI who proffered their contemporary tagline (or role) as Inspiring Women was fascinating.

Quilts at the V&A London

2010-04-30T21:18:00.007+01:00

Visiting the Quilt’s exhibition at the V&A was a visual treat, a journey through three centuries of quilting demonstrating its relevance to daily life within each era. While there are many aspects of the exhibition that could be commented upon, for me, the two aspects standing out were ‘detail’ and ‘restoration’ of the relation between body, mind and soul.

The works collectively brought home a real need to pause and pay attention to detail. The volume of detail in each quilt demonstrated fabulous feats of craftsmanship. At times, the collective voice of this detail is overwhelming, but in the main, it acts as a reminder of the age-old approaches to creating pattern and textiles where ‘slow’, ‘intimacy’ and ‘narrative’ were greatly valued.

The exhibition also highlighted the importance of quilting to restoring meaning and purpose within communities and individuals. The work of Wandsworth Prison UK stands out in this instance, where quilting is incorporated into prisoner’s rehabilitation. The human value it has was clearly demonstrated. Here the meditative state that the making process nurtures and the introduction to one’s inherent (and sometimes dormant) creativity were key to rehabilitation. Powerful stuff.

This exhibition offered the focus for April’s Friday Night Late event, ‘Stitched Up’, which is my next stop.

However, before closing on the Quilts exhibition, my last word has to go to Natasha Kerr for her work, personally, was the most inspirational in terms of concept and aesthetic sensitivity. The image featured in this blog entry is ‘At the End of the Day’, hanging, Natasha Kerr, 2007. Museum no. T.43-2008.

If you haven’t yet seen Quilts, it’s on until 4^th July, 2010.

Curated by Sue Prichard.

A word from Frances Stevenson - printed textile designer

2010-04-22T14:30:00.001+01:00

Colour is the most fundamental part of each printed textile piece that I make, and I use it to provoke an emotional response in the viewer. The viewers’s sensory engagement with colour provokes a response that delves into their own personal experience but also reflects cultural norms. For example, tangerine still conjures up painted woodchip wallpaper from the 1960’s for me, but at the same time it reflects 60’s culture. I usually avoid using tangerine as a general rule. However the point is that how we feel is often shaped by cultural as well as personal experience.

Cloth is one of the most sensual products that human beings engage with. We wear it every day and have done so all our lives. ‘We’ have an exceptional sensory knowledge of it and we touch it to understand if it ‘suits’ us. The textiles that I make must satisfy the sense of touch, as there is a universal understanding of weight, drape, comfort and pleasure in cloth products that I seek to combine with the visual sense.

People are fantastic. ‘We’ like to play, show off, talk, make new things and make ourselves look and feel great. I have been bringing these human components together in the participatory craft process. The process gives the public centre stage to design and make their own creations bringing all of their own knowledge and experience into play. This inspires me to create new textile products that can be enjoyed by everyone.

Frances Stevenson, April 2010

New work currently on show at the Future Craft research exposition in the Matthew Gallery, Duncan of Jordanstone College of Art & Design, Dundee.

Lost Economy

2010-03-30T16:02:00.001+01:00

Quick post to let you know there is a really intersting article on the BBC website re the crafts...
http://news.bbc.co.uk/1/hi/business/8586172.stm

many thanks to Prof Nigel Johnson for bringing this to our attention

Innovation focus

2010-03-27T17:49:00.001Z

Organisation of the "Prototype-craft in the future tense" symposium is off to a fantastic start!

Taking place on June 10th and 11th of this year, the event has an amazing line up of speakers including Business Innovator Michael Schrage, space architect Constance Adams, Turner Prize Winner Simon Starling, and the University of Dundee's own Interactive Jeweller Hazel White, to name but a few.

Participants will be joined by industry experts including Design Innovator supremo Colin Burns, Dee Cooper who is Director of Product and Service at Virgin Atlantic and, Chris Van der Kuyl, Scottish Entrepreneur and CE of Bright Solid.

This is an incredible and unique opportunity to see and hear about the astonishing diversity of prototyping, what it has acheived and will be acheiving in terms of research, collaboration and knowledge exchange across a vast array of disciplines.

Come and learn, come and share.
See http://www.dundee.ac.uk/djcad/prototyping/.
Early Bird registration fee, ONLY £195 - BOOK NOW!!

Hurry only a few days remaining to catch this offer

Future Craft invite

2010-03-27T17:20:00.000Z

The 'Future Craft' research exposition runs from 26th March - 24th April and showcases work from over 40 craft practitioners including new works by Georgina Follett, Geoffrey Mann, Drummond Masterton, Louise Valentine, Frances Stevenson, Hazel White and Tim Parry-Williams.

The exposition is a culmination five years of research conducted by the 'Past, Present and Future Craft' research team at Duncan of Jordanstone College of Art & Design, Dundee, U.K. Accompanying the expo is a catalogue detailing the research journey, giving insight into each of the five team members research.

Future Craft challenges current perceptions of craft and is being held, in the Matthew Gallery, Duncan of Jordanstone College of Art & Design, Dundee, U.K.

V&A Quilts 1700-2010 :: Private View

2010-03-24T22:42:00.008Z

Walking into the Private View of ‘Quilts 1700-2010’ was a bit of a fantastic, blurry and surreal experience – the main reception of the V&A unfamiliar with its lights dimmed low, buzzing in anticipation; clusters of the most fabulously be-decked people chattering excitedly over a soundtrack of dreamy fifties tunes; waiters and waitresses milling through the ever moving stream of guests offering champagne and nibbles atop Perspex trays whose middle was filled with bobbins, threads, snippets of patchwork and images of featured quilts.

Curator Sue Pritchard admitted it took 6 years for this exhibition to be where it is at today therefore the celebration for them was long awaiting.

Contemporary artist Tracey Emin gave an impelling opening speech whose own piece was an ode to her childhood abuser in the guise of a ‘Princess Bed’. Emin stressed the importance of quilting not only as craft but as an emotional outlet, a personal mode for expression- a theme which ran throughout the whole exhibition exploring each individual piece’s own hidden history and untold story.

Being able to see the exhibition for the first time was such an amazing moment. The exhibition flowed through a series of ‘rooms’ and walls affording each quilt an appropriate ‘home’ in its own right – some were hung loosely from the wall tempting the viewer to pull them down and explore them further, some pinned flat like Jo Budd’s ‘Male/Winter, Female/Summer’, others displayed in situ on a bed, in a crib on a working frame, and other quilts came in digital form as films or slides. The presentation of contemporary quilts alongside older traditional ones was beautifully done, emphasising the timelessness of quilting and its associated themes. The placement brought new and diverse insights to the subjects explored and it encouraged thought and questioning from the viewers. Turning the corner into the ‘Making a Living’ section to find Kirsty Fenton’s quilt ‘Threaded Wrists’ was a rather bizarre and wonderful moment. It encapsulated everything she had set out to do in terms of subject and aesthetic. Certainly a piece worthy of sitting aside that of artists we have studied and admired during our time in the textiles department at Duncan of Jordanstone College.

All in all, the Private View was a wonderful experience – an aptly surreal and exciting event!

By Kirsty Fenton and Sara Nevay

Craft Festival Scotland Launch

2010-03-24T22:22:00.001Z

On Thursday 25th March, the first national festival of craft in the UK – Craft Festival Scotland – is launched in Dundee. With over 50 inspiring events happening across the country it celebrates the diversity and creativity of craft, tempting everyone to discover and enjoy craft.

The journey towards this event started in January 2009 when we invited people working in craft across Scotland to gather to discuss a national festival. The PPFCP research project already had a collection of exhibitions and an international symposium with the V&A happening in Dundee in 2010, creating an opportunity to work together and initiate a national celebration of craft.

Twenty people came to the meeting representing Aberdeen, Dumfries & Galloway, the Scottish Borders, the Highlands, Ayrshire, Fife, Edinburgh and Glasgow, and the group supported developing a national festival of events with Dundee at the core of it.

After agreeing the festival would happen in May and June 2010 we then spread the word to private and public galleries in Scotland, open studio events, the Scottish Degree Shows, and invited them all to become part of the festival.

At the same time, we successfully approached the Scottish Arts Council for funding for a national marketing campaign, and worked with partners in Dundee. The Courier joined as media sponsors, the McManus developed a month long programme of workshops and craft focused events and DCA will hold their first ever craft exhibition with Chicks on Speed, who will working at Duncan of Jordanstone for a month before their event. On a national level we liaised with the V&A, Crafts Council and craftscotland.

We now find ourselves excitedly approaching the event we have been creating for over fourteen months. We have been amazed and delighted at the way people have wanted to become involved and support the vision. Flamboyant millinery in the Scottish Borders, interactive objects on Shetland, the Innovative Craft maker/curator project in Edinburgh, a month of events in the Highlands with all the Scottish art colleges participating through their annual Degree Shows and open studios events in North Fife and Dumfries & Galloway.

It is a true reflection of the energy, passion and quality of craft in Scotland, and we hope everyone will enjoy the festival in May and June, our first Craft Festival Scotland.

Craft Festival Scotland update

2010-03-12T15:28:00.001Z

Save the date!! On 25th March, 2010 we are launching Craft Festival Scotland, a new national initiative emerging from five years of research at Duncan of Jordanstone College of Art & Design (DJCAD). Matthew Gallery, DJCAD, Dundee, Scotland.

To find out what we're up to, visit our website - www.dundee.ac.uk/craftfest

become a follower/fan via twitter and facebook pages:

http://www.facebook.com/CraftFestivalScotland

http://twitter.com/CraftFestScot

Groovy Chicks

2010-03-12T15:01:00.000Z

This was too good not to share! many thanks to MSc Craft and Creative Business student Charonne Ruth for bringing this to our attention.

Enjoy :)

Craft Festival Scotland on Facebook

2010-02-01T14:32:00.001Z

Craft Festival Scotland is a new national initiative conceived by the Past, Present and Future Craft Practice research team, University of Dundee. It celebrates the array of great work being produced by practitioners, curators, and gallery owners and seeks to promote it in a united manner, echoing the collegiate nature of the craft ethos.

Over 50 opportunities are included in this ambitious event with new works and exhibitions organised specifically for the launch. The details of which we'll be sharing with you very soon.

Our plans have been in the making for two years and our efforts are coming to fruition with a Facebook page launching today and a dedicated website launching in a few weeks! Twitter will also be our ally, so look out for us there too!

V&A at Dundee : Making it Happen

2009-11-29T14:03:00.006Z

The University of Dundee is at the forefront of the V&A at Dundee initiative. The project aims to establish a cultural portal at the heart of the city’s waterfront development with input from the Victoria & Albert Museum, a move which would complement the strong creative movement which already exists in Dundee.

This unique opportunity would build on Dundee’s growing reputation as a centre of excellence for contemporary art and design, and help provide a focus on the cultural activities the city can offer. A two-phase independent feasibility study, commissioned by Scottish Enterprise and Dundee City Council has concluded that a presence for the Victoria & Albert Museum in Dundee could regenerate the city centre, attract up to 250,000 visitors a year, create up to 900 jobs and inject millions of pounds into the local economy.

The project took a huge step forward in August 2009 when Michael Russell MSP, Minister for Culture, External Affairs and the Constitution, announced the Scottish Government’s intention to support the V&A at Dundee. By committing a significant financial investment for the project, ministers hope to emulate the success of the Guggenheim Museum which opened a branch in Bilbao in 1997, a move which played a major part in the economic regeneration of that city.

This ground-breaking venture will be delivered by a partnership of local bodies —Dundee City Council, Scottish Enterprise, the Universities of Dundee and Abertay —and the V&A, the world’s Number One museum of art and design.

V&A at Dundee will be housed in a world-class building on a stunning waterfront site. An international competition for the building will be launched in early 2010, and the quality of the building and the creativity it will unleash will drive forward Dundee’s renaissance as an exemplar European small city.

It will do three things:

· attract visitors to international quality travelling and permanent exhibitions in the creative arts put together by the V&A and others;

· create a rich educational resource for researchers and students of all ages; and

· provide a nucleus and launchpad for applied artists and creative businesses in Scotland.

You can help by showing your support for the V&A at Dundee and the wide range of cultural initiatives taking place within the city.

Niftymitter

2009-11-17T14:33:00.001Z

Scottish based Roy Shearer is the face behind this work.

Niftymitter is a short range FM transmitter based on the open source hardware design by Tetsuo Kogawa, housed within a cardboard body, with a variety of options for hacking. The transmitter is tiny and handy for small scale radio broadcasts, building a distributed PA system for performances, linking your personal audio player to your car radio, or for general audio experimentation.

Be a tester!

In December 2009 Roy will be sending out a hacking kit to 6 people and you could be one of them! The kit will contain the stable build of Niftymitter v0.2x and a whole host of bits and bobs to add on to it to adapt its function and behaviour. You don’t have to have any technical knowledge or interest to take part, merely some curiosity for Niftymitter or for broadcasting sound wirelessly. I would prefer it if you don’t know me personally so, will give preference to those living farther away, but in the UK. If you are interested, email me at info(at)openthing(dot)org with some info about yourself.

Roy is one of 3 awardees of the 2009 Crafts Creative Development bursary at Duncan of Jordanstone College of Art and Design, Dundee, Scotland in partnership with the Scottish Arts Council. The purpose of the bursaries is to support individuals to create new work through awards of up to £10,000. The work created through the bursary scheme will be part of an exhibition at the 2010 Craft Festival Scotland organised by the Past, Present and Future Craft Practice research team.

Craft Scotland's 'C' Word Campaign

2009-09-29T18:36:00.011+01:00

With Emma Walker at the helm, Craft Scotland have a refreshing new marketing strategy and are taking the sector straight to the heart of public life. This is no more evident than their new C word campaign which is set to promote Scotland’s craft industries as innovative and desirable. Hip Hip Hooray to that!

With the launch of a dedicated website supporting the campaign, a cinema commercial - launching in Manchester, London and Minneapolis USA - and a series of interviews with the Times newspaper, Scottish Craft has a genuine future focus and more than just a twist of va va voom!

To find out more about this campaign the Times newspaper have interviewed Emma and are profiling a range of makers engaged in Scottish Craft, with the furniture maker Joachim King, opening this new conversation. You can also follow Craft Scotland on Twitter

Quilts: hidden histories, untold stories

2009-09-24T15:48:00.004+01:00

Sue Prichard's blogging (in support of the forthcoming exhibition 'Quilts: hidden histories, untold stories' at the Victoria and Albert Museum, London) is one of the most consistently enjoyable reads on the web in terms of craft. With an eloquent turn of phrase and a boundless passion for her subject, Sue delivers entertaining, intelligent and refreshingly modern conversation on the craft of quilt making.

Quilts 1750-2010: hidden histories, untold stories
V&A, London
March - July 2010

Chicks on Speed

2009-09-18T18:49:00.006+01:00

In preparation for our Craft Festival next year (with its emphasis on future practice), Frances Stevenson, Laura Simpson and I had a great afternoon in conversation with Alex and Melissa from 'Chicks on Speed'.

Taken from last.fm ...
Chicks on Speed are a female electroclash band, born when Alex and Melissa met at the Munich Art Academy in 1997. Chicks on Speed’s core members are Melissa Logan (Upstate NY, USA) and Alex Murray-Leslie (Bowral, Australia), who collaborate with amongst others Anat Ben-David (Tel Aviv, Israel), Kathi Glas (Berlin, Germany) and A.L. Steiner (NY, USA).

Around Chicks on Speed there is grouped a large and ever-changing collective of musicians, producers, fashion and graphic artists, designers, film and video makers, and so on. Though usually considered part of such musical genres as electroclash, actually Chicks on Speed started as a multidisciplinary art group, who applied punk-inspired DIY ethic to performance art, collage graphics and home-made fashion (they have created their own stage costumes with cheap and recycled material such as plastic bags and gaffa tape, for example).

For a look at their work, go have a look at the Viva La Craft exhibition which was held in Melbourne Australia, March-April 2009. Brilliant!

And in person, come and see it in Dundee, Scotland next summer!

Future Craft

2009-09-15T11:08:00.008+01:00

One of the key things we do as part our research is engage in conversation with people from a range of disciplines, in an attempt to develop knowledge and understanding of craft in terms of first principles.

We'd like to extend this conversation that we've been having with you via our BLOG, and as such invite you to join the debate about Future Craft. This is part of our preparation for a futures dialogue which we are organising with Dr Glenn Adamson, Victoria and Albert Museum, London, next summer (10-11 June, 2010).

11 Ways (and counting) to Consider 'Future Craft'

As a process that unites a range of creative endeavours
As human intervention within real world scenarios
As a vehicle for and of cultural, political and social commentary
As a form of radical innovation
As a research path concerned with intellectual experimentation
A discipline that mindfully respects and disrespects tradition
A methodology that unites the past, present and future perspectives of creative practice
A philosophy articulating the creation of knowledge through making
As a space in between established fields of enquiry
As aesthetic commentary
As a way to irritate and/or inspire people

Plus Some Ways to Consider Contemporary Craftsmanship

Skill honed to the 'master' level
A word denoting meticulous attention to detail
10 000 hours of dedicated practice
An act of human labour
A practical process

Our futures dialogue with the V&A London, comes in the form of a 2-day symposium entitled, 'Prototype: craft in the future tense.'

We'll be in touch soon with more info for debate and discussion, but for now, pls follow the link.

Jerwood Visual Arts

2009-06-19T10:53:00.004+01:00

Geoffrey Mann (2009) and Drummond Masterton (2008) are two contemporary makers who exemplify the idea of post-disciplinary practice and over the past two years have been winners of the Jerwood Visual Arts awards.

Both Drummond and Geoffrey were commissioned in 2007 to work with Dr Louise Valentine as part of her Mindful Inquiry research. The results of which will be disseminated in Spring / Summer 2010.

The Jerwood Visual Arts website is home to The Jerwood "In Conversation" series 2008 - one-hour public conversations between two artist /makers /designers/ choreographers /architects as a means of increasing awareness of the shared practice of materials concerns, conceptual rigor and application processes undertaken by artist, makers and designers.

The "in conversation" series explored the connections between practice and the shared values held by the practitioners in these conversations. For example,

Monday 16th June - 6pm till 7.15pm - Cornelia Parker and Ron Arad

Listen now

material ecology

2009-06-19T10:46:00.003+01:00

Neri Oxman is an architect and researcher whose work attempts to establish news forms of experimental design and novel processes of material practice at the interface of design, computer science, material engineering and ecology. (taken from her website - www.materialecology.com).

She is currently based at MIT where she is a Presidential Fellow working towards her PhD. Named as one of the 100 most creative people in business by 'Fast Company' (June 2009) she argues that "on the fringes [...] is where disruptive innovation begins".

Handcrafting Computational Media

2009-06-02T15:23:00.004+01:00

The work of Maggie Orth and her Electronic Textiles or textile computing devices are worth getting to know a bit better...an MIT PhD graduate, Maggie's work is concerned with active and programmable materials in textile design.

The enjoyment and quality of her craft for me, lies not simply in the experimental manner that she approaches interactive technology, smart materials and the weaver’s loom but the way she considers people and their emotional and sensorial engagement in the experience of electronic textiles. Her work retains a respect for the tradition of textiles while demonstrating responsibility for the future of the discipline, nurturing a dialogue with other knowledge domains while critically prodding alternative technological methods and material cultures.

To listen to Maggie talk about the her PhD work in terms of concept, material and technology visit utube.

Making A Slow Revolution - Helen Carnac

2009-05-29T11:56:00.004+01:00

This blog aims to provide a forum for open discussion around the contribution of contemporary craft to the philosophies presented within the slow movement. [Carnac & Craftspace] feel that these philosophies reflect many of the current concerns and interests that makers are exploring within their practices and the evolving identity of craft. It is an opportunity to connect some of the emergent discussions within craft and its recent movements to the slow debate.

The blog form[s] the thread which runs through a research project exploring ideas of slowness within craft. [Their] aim is that this project can be a reflexive process that informs our curation of a major national touring exhibition for Craftspace and which will launch at the end of 2009. A blog provides the opportunity to encourage open discussion, a value that is characteristic of the slow movement. Your contributions enable you to inform the research and exhibition and ensure that the ideas we present resonate within the experiences and interest of those working within the craft arena.

Everyday Creativity: creativity and cognition conference 09

2009-04-16T08:14:00.003+01:00

CONFERENCE THEMES

Authors should submit papers related to the main conference theme 'Everyday Creativity' and the suggested topics given below. The conference organizers hope that these threads will both inspire and shape submitter's presentations:

* Collective creativity and creative communities

* Shared languages and participatory creativity

* Incubating creativity and supporting Innovation

* DIY and folk creativity

* Democratising creativity

* New materials for creativity

* Enriching the collaborative experience

The creative experience broadly includes sensations, embodiment, emotions, perceptions, and behaviours. This is especially true in interacting with representations, materials and technologies that support and underpin individual and collaborative creativity. We welcome papers that consider both the nature of the materials and the experiential vision of creativity support tools as a medium for emotions, sociability and pleasure, as well as ethnographic field work, and first-hand accounts or investigations.

PRIZES

Two prizes are awarded for papers. One to the greatest technical/ scientific contribution and one to the most creative contribution. Prizes are generously provided by the Creativity and Cognition Studios.

SUBMISSION DEADLINE

April 24, 2009

Please note that the submission site will close on April 24 and we will not accept any submissions after that date.

SUBMISSION INFORMATION

Papers must be submitted via the electronic submission system.
Papers must be anonymous and should be a maximum of 10 pages in ACM SIGCHI two-column conference format.

Hella Jongerius :: a continuing inspiration

2009-04-15T18:54:00.005+01:00

Designer Hella Jongerius (1963) has become known for the special way she fuses industry and craft, high and low tech, tradition and the contemporary.

After graduating Eindhoven Design Academy in 1993 she started her own design company, Jongeriuslab, through which she produces her own projects and projects for clients such as Maharam (New York), Royal Tichelaar Makkum (The Netherlands), Vitra (Basel) and IKEA (Sweden).

Her work has been shown at museums and galleries such as the Cooper Hewitt National Design Museum (New York), MoMA (New York), the Design Museum (London), Galerie KREO (Paris) and Moss gallery (New York).

NEW MSc Craft & Creative Business Degree Launched!

2009-03-26T15:50:00.007Z

A new postgraduate degree at the University of Dundee - MSc Craft and Creative Business - will take its first students in September 2009.

This exciting new course is the only generic, multidisciplinary postgraduate crafts programme in the UK dedicated to developing and integrating contemporary craft practice and crafts business. It answers the sector’s need for craftspeople to hold specific business knowledge that enables them to become internationally established. This course addresses entrepreneurialism and business strategy for crafts practitioners.

It is a one-year full time programme taught by leading experts at Duncan of Jordanstone College of Art. Duncan of Jordanstone is one of the few art & design Colleges in the UK that is part of a world-class university “where researchers routinely push back the boundaries of knowledge and teachers inspire their charges”. (Sunday Times, 2008)

For more information, visit the course webpage.

V&A and Duncan of Jordanstone College student success

2009-03-26T08:30:00.005Z

3rd Year textile design student, Kirsty Fenton has won the 'Hidden Histories, Untold Stories' quilt project organised by the major AHRC funded 'Past, Present and Future Craft Practice' research project and the Victoria and Albert Museum, London. The prize is an exciting and rare opportunity to make her quilt for inclusion within the V&A 2010 exhibition, in the thematic display 'Making a Living' where she will be exhibiting alongside international artists such as Grayson Perry, Viktor & Rolf and Tracey Emin. As lead judge and curator of the V&A 2010 exhibition, Sue Prichard said, 'Kirsty's work combines an uncomfortable truth regarding child labour but does so in a way which is thoughtful, evocative and also beautifully constructed and made'.

Principle design lecturer for the textile project, Josie Steed offered her congratulations to all the students taking part in the competition who responded to the brief with enthusiasm and intelligence.

'Quilts'
20 March - 4 July, 2010
Victoria and Albert Museum, London

For further information please visit: http://www.vam.ac.uk/exhibitions/future_exhibs/Quilts/index.html

Little Stories

2009-03-24T19:18:00.004Z

Interactive Jeweller, Sarah Kettley has been attached to the AHRC 'Past, Present and Future Craft Practice' project since January 2009 through the pilot Scottish Arts Council Crafts Development Bursary scheme. On Wednesday 1st April at Duncan of Jordanstone College in Dundee, she will reflect on her time in the Masters of Design studio with reference to the original aims of the residency, outlining the ‘Little Stories’, or strands of research, that she has been pursuing. Funding was awarded to support “a practice led investigation of craft through engagement with the emerging needs of critical and functional interaction design”, and the subsequent demonstration of craft as a discipline to other fields of creative practice.

The Little Stories that have emerged include Early Moves, the design of attachments for body worn sensor networks for pre school children in a project investigating rich motor control development, and Migration, starting points for a lo-tech formal design method for working with state change materials. In addition, the residency has provided a valuable space for reflection on the development of a new area of practice, and Sarah will take the opportunity here to pull out some of the commonalities in her work in fashion and textiles, jewellery and interaction design, to create new directions for research and creative outputs, and to create a positive narrative of an interdisciplinary and experimental practice.

Scottish Craft Bursary Opportunities

2009-03-23T14:50:00.005Z

A fantastic bursary opportunity for craft practitioners supported by the Scottish Arts Council and Duncan of Jordanstone College, University of Dundee!

Following on a highly successful pilot study, up to three Craft funded placements at Duncan of Jordanstone College of Art & Design (DJCAD), each of 3 months duration, are being offered to creative practitioners to take place during the period 1st August – 11th December 2009. These are being offered through the Scottish Arts Council’s (SAC) Crafts Creative Development Awards which support individuals to create new work through awards of up to £10,000. The work created through the bursary scheme will be part of an exhibition at the 2010 Craft Festival. Successful awardees during the pilot study were Gillian Cooper (Textile Artist) and Sarah Kettley (Interactive Jeweller).

This is a rare opportunity for crafts practitioners to update their creative practice through having access to equipment, facilities and College research staff as appropriate. Applicants wishing to apply for one of the placements should do so by 20th April 2009, having previously discussed their proposal with relevant College staff.

For more information on this opportunity please see
http://www.dundee.ac.uk/design/craftbursaries2009.php or
http://www.scottisharts.org.uk/1/funding/apply/individuals/crafts.aspx.

Enquiries may be directed to ppfcp@dundee.ac.uk.

Crafts as a Renewing Force of Culture - Crafticulation Day 1

2008-09-24T18:11:00.002+01:00

By now I am sure that most people will be aware of the shooting of nine students and one teacher in Finland yesterday and it was on this somber note that the Crafticulation conference started.

Ellen Dissanayake's opening keynote adopted an evolutionary perspective of how humans are biologically prepared to make and respond to the arts. In ways that indirectly addressed current events Ellen presented her argument that our psychology which was developed in the Pleistocene period needs mutuality, belonging, meaning, developing hands on competence, and showing care about the important things in life that are not being attended to in a secular complex world. The opportunities for the above are not automatically available.

Martin Woolley from Central St Martins followed with his keynote 'Making Futures' where he challenged us to move more in the direction of science where our 'craft ethos' could put us at the forefront of developing new materials and technologies rather than waiting patiently for them to trickle down to us in the crafts. He acknowledged the argument that the crafts can be an antidote to contemporary culture whilst probably true he felt was unhelpful if we are to move in the direction that he is advocating. This would be a moving from what he described as intelligent making to making intelligence. He is also aiming to start a crafttechculture blog in the next three months addressing these issues. A lot of people are now using the expression 'craft ethos' and yet we still have to articulate what we mean by this.

There were stronger hints of it however in the parallel sessions that

followed. The conference is organised around three streams of parallel sessions focussing on Craft Knowledge, Craft Theory, Approaches to methodology, Gendered issues in craft and Crafts & well being. Carol Gray and Gordon Burnett from Grays in Aberdeen (see image on right) talked about connected knowing that was based on relationship and adopted an epistemological orientation. Eija Vahala from Finland also talked about how her research has demonstrated the ways in which the crafts can enhance a sense of well being and the ability of individuals to contribute positively to society. Given recent events a fitting note perhaps to finish the days proceedings.

Reporting from Crafticulation in Helsinki

2008-09-23T21:15:00.001+01:00

Here we are in the home of Marimekko - Helsinki, Finland for the Crafticulation conference that starts in earnest tomorrow. Our own Fanke Peng will be giving a paper in the afternoon on The Craft of Visual Analysis. Just wanted to alert you to more detailed reports of the event which will follow.

Hear Richard Sennett at the Edinburgh Book Festival

2008-06-20T15:56:00.001+01:00

As part of the Edinburgh Book Festival
Richard Sennett will be speaking about his new book The Craftsman - tickets £9.00

Sun 10/08/2008
12:00 PM - 1:00 PM
Society and Culture

What does it mean today to learn a craft, a skill or a hobby? In The Craftsman, esteemed Professor of Sociology Richard Sennett explores why we have needed practical activity, how the role of the skilled craftsman has changed over time, and what motivates individuals to become obsessive and inspired by a hobby, including his own attempts to learn the piano.

A New Worldview of Craft Education in the 21st Century

2008-04-17T16:13:00.001+01:00

Just thought I would share with you one of my abstracts that has been accepted for the Crafticulation Conference in Helsinki 24 - 26th September 2008. I am currently preparing the full paper and so any comments will help develop my thinking on this issue.

Abstract:
A NEW WORLDVIEW OF CRAFT EDUCATION IN THE 21ST CENTURY

Based on PhD research this paper will demonstrate how the emphasis in craft education has shifted philosophically with different worldviews. Starting with the sensuous exploration of materials and embodied experience (naturalism) of the medieval guilds to the Romanticism of the Arts & Crafts movement (subjective idealism) and an art school education that was concerned with ‘a movement of the mind’. Romanticism however rejected reason and many have suggested that this was its major failing. One of the challenges for craft education within Universities therefore is an epistemological one - to address the nature of reason.

This paper argues that ‘Reason’ however should not be interpreted in its narrow sense of the power of the mind to think and form judgements using logic but rather in a wider sense as fully actualized human beings combining embodied experience with the unity of thinking and doing. This non-dualistic form of ‘reason’ is guided by the heart and refined through critical reflection.

To date Craft has remained impervious to the importance of the discourse and critical thinking. However, considering craft as a worldview can provide a critical framework that will enable us to articulate our uniqueness. It is interesting to note that this expanded concept of reason is central to other disciplines that advocate a craft approach e.g. the craft of archaeology.

A new worldview for craft education in the 21st century will be articulated through reference to contemporary craft practice and writing and the philosophy of Goethe, Jaspers and Dilthey.

New Domestic Craft Blog

2008-04-11T20:38:00.001+01:00

Ebba Redman an undergraduate jewellery & metalwork student here at Duncan of Jordanstone has started a new blog on Domestic Craft skills. Anyone with an interest in this area should check it out and take part in her poll and make a comment. The crotchet ring left (made by Ebba) was what started her interest in this area.

Postgraduate student conference

2008-04-03T22:00:00.000+01:00

Questions & Hypotheses is a conference for postgraduate students in design to be held this October in Berlin. Organised by the Design Research Network, the event promises to be useful and stimulating for all Masters and PhD students in design - including craft disciplines. More details from here.

The Craftsman

2008-03-11T22:56:00.001Z

My review of The Craftsman by Richard Sennett is here.

Craft 2.0

2007-12-15T18:34:00.000Z

The collision between the seemingly separate worlds of Web 2.0 and craft is described in a recent article in The New York Times Magazine written by Rob Walker.

The article begins by describing the Handmade Consortium an online project that seeks to get consumers to pledge to 'buy handmade'. It's a consortium that interestingly includes key movers in the DIY movement, and the American Crafts Council. It has a page of online resources for the Handmade Movement that includes my own (now largely dormant) Hand Made Theory blog.

Walker explains how the rise of the DIY/Crafter movement has been intimately linked to Web 2.0. For example, the new Craft magazine which addresses the needs of "the new craft movement" was initiated by O'Reilly Media which itself has been behind all the analysis (and indeed the hype) that has led to the idea of Web 2.0.

The article argues that the new handmade movement is an explicitly ideological movement that has profound implications for consumerism, and seeks to develop sustainable economies based on craft production. More than once the piece draws parallels with the Arts and Crafts Movement, and the examples cited demonstrate how a Web 2.0 enabled craft movement enables makers to overcome the Morris Dilemma. No "pandering to the swinish luxury of the rich" here - the hand felted ipod cocoons are very reasonably priced.

Much of Walker's attention is given to Etsy - essentially an online craft fair - - which provides makers with their own branded online stores. Brooklyn-based Etsy indicates something of the size and significance of the new handmade movement. It comprises a community of 70,000 people, with a $4.3 million turnover in November 2007 alone. OK, let's put this into perspective. According to the latest research the entire craft sector in Scotland accounts for an annual turnover of at least 95 million pounds. The probable annual turnover of Etsy is around 25% of this figure, and projections indicate that turnover is on a steep upward trajectory. The new craft movement is thus significant in economic terms alone.

To quote from Walker's article:

"The luck or genius of (Etsy) is that Kalin and the other founders encountered in the D.I.Y./craft scene something that was already social, community-minded, supportive and aggressively using the Web.... Kalin is nothing if not grandiose about what he thinks Etsy can accomplish. For example, he knows that individual crafters face a problem of scale: there is only so much one person can produce. (Hence the Industrial Revolution.) So he mentions creating “co-production” sites across the country, where groups of crafters would band together in a co-op-style model, ideally occupying space in distressed areas and offering training to people who want to learn handcrafting skills. Handmade isn’t a fad, he told me, it’s a resurgence, one that is of a piece with the booming interest in organic food. In 25 years, he said, Etsy would be both worldwide and personal, a global-local marketplace, a Web version of the Athenian agora.... Etsy could “disturb” the way people see the world, rethinking what makes their possessions important or trivial, leading us to re-evaluate the way we consume."

Craft 2.0 is the true inheritor of the Morris legacy. Unlike the professionalised 'art school' educated craft makers it has an ideological position which, while largely ill-defined and diverse, represents a constructive reaction to the inequities and politics of the market economy. It is clearly using the market economy as a means of developing sustainable livelihoods, but is bringing economic and cultural innovation to it. Above all it is dealing with the politics of work and consumption in ways that the professionalised sector cannot.