Endless End EAD09

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

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

 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

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

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/

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

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

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

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

                                                      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

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

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

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