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

Dundee V&A museum designs unveiled

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".

Continue reading the main story

Related stories

• New V&A Museum shortlist unveiled
• Dundee has designs on V&A museum

End of September Already?

I'm finding it difficult to believe that October is nearly upon us. This year in particular has been a whirlwind of activity. There are so many fascinating events, people and places that have filled the days and weeks. June, July and August was no exception with Craft Festival Scotland events, V&A at Dundee exhibition preparations, the 'Past, Present and Future Craft' book launch, conference organisation and attendance!! Here's a snap shot of some of the journey:

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

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

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

Craftivism Collective

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

Do you have 10 minutes?

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?

Henry Moore Institute Annual Academic Open Day - Friday 15 October

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 2010, 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

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

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

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

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

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.