Friday, January 21, 2011
Wednesday, January 19, 2011
Sunday, January 16, 2011
Saturday, January 15, 2011
Thursday, January 13, 2011
Wednesday, January 12, 2011
My Blackberry Is Not Working! - The One Ronnie, Preview - BBC One
as well as being very funny this highlights to me the language we use - or that advertising uses - when selling us technology. It's inorganic and so it more and more important to invest it with natural, wholesome life... People eat lightbulbs, i wonder if one could eat a blackberry, an apple etc. Looking into the naming of new technology would be interesting.
Saturday, January 8, 2011
Tuesday, January 4, 2011
questions to stimulate ideas for research project.
Creative Histories and Industries – Task 3 – for after the Xmas Break
Research Project – Initial ideas and interests
Try to be analytical & critical, rather than just descriptive in your answers to these questions. Consider WHY? you are interested in the specific areas that you are – this will help to clarify areas that you might want to go on and research further.
You may have lots of ideas – that’s great! Note them all & we can discuss these at the start of next term before you decide which you want to focus on for the next stage of the module.
Do you already have some ideas about what you would like to research?
If so, make some notes about these before moving on to the specific prompts below…… (which might also prompt some other ideas)…….
- Which areas of Creative Practices particularly interest you (these may include areas outside of your immediate subject specialism)?
- performance/performative work, music, dance, circus, street performance, costume, comtemporary gallery based art, instalations, sculpture, site specific work, conceptual art, automata, bikes.
- I'm not particularly interested in photography or film but I feel i'm going to have to use these mediums as a way of recording and presenting my own work. I find that as much as i might love 2D work, i am not particularly interested in making it myself.
- I prefer my work to have a physicallity, either by being a 3D object or by being animated in some form such as performance. I think this may be partly due to a saturation of images. I frequently 'copy and paste' interesting images that i find on the internet which i might share. This availability reduces their value I think. Although I might enjoy the images or find them thought provoking in a whole range of manners, I also find them 'dead'. A two dimentional image is not quite enough for me. Even in the print room, and i loved printing, I found myself moving on to embossing straight away. When the bike chain punctured the news print, I was delighted. It brought it alive, gave it another dimension.
- I am also quite keen on light, I enjoy seeing how light passes through materials, things displayed on lightboxes are pretty cool. I rather liked drawing in white chalk on white paper, to see the image you had to stand at an angle where you could see the light striking the chalk. There are two images of glass towers which have stuck with me as well. Again this points towards using film/projection in some way.
- Are there any questions that you have identified in your responses to the readings and lectures that have formed part of the module to date? What about any questions that you have posted on your blog?
many many questions! I'm wondering where art might go next. I wonder what I think about historic ways of living. I love the idea of attempting to live in a neolithic or nomadic manner and documenting it. I found myself wondering how contemporary circus meets traditional circus and whether it's worth mixing different performances - why doesn't mixing circus and theatre work for me? I wonder who's done what with bikes. i wonder if it's possible to ride a mini-bike on a slack rope.
- Which aspects of the readings and lectures from the module have you agreed with?
- agreed with? Well, It's hard to 'disagree' with history, I might not like what has happened or is still happening. I don't like that modernism, which sounds great in many ways, like communism, always seems to go wrong in practice. So with communism it ends up being a dictatorship, so with modernism it ends up being soulless, corporate and environmentally destructive. Are there any envisioned futures which combine technology and environmental good practice? Post-modernism, or whatever;s happening now seems so frequently to be plasticy, I don't like that much either! Is there a future for crafts that isn't the preserve of middle age, middle classes (people like me!)
- Which aspects of the reading and lectures from the module have you found to be particularly interesting?
Fashion. Fine art. photo journalism. punk.
- Which aspects of the reading or the lectures and discussions from the module to date have you disagreed with?
- Sorry, not trying to be pedantic but how can I disagree with the lectures? I could say 'Sam, you're wrong, it was in 1846, not 1847' but i'm unlikely to know really... so no, I agree with it all. Each dicipline is part of and influenced by the others, almost everything was avent-garde/modern/post-modern in it's time.
- I am not interested pursuing photography or film, or anything technical, for its own sake. I'm not an illustrator or a graphic designer either much as i love print making and hope I can use it more. Although i will have to use elements of all of these things, I sit much closer to art, fashion and performance.
- Are there any specific issues that you feel strongly about? (Art, Design & Media related or not?)
- Loads! A whole wealth of social and environmental issues. I have worked in nightshelters and run community groups aimed at global and local food security, I've risked my life and liberty for environmental issues. I get outrageously angry at instances of sexism in the press, stories of women being harassed or not feeling safe walking alone and am shocked when i become aware of my own assumptions.I am also a new convert to ashtanga yoga and so currently evangalise about it quite happily. I have yet more issues with public space and how it's used and designed - things like shopping complexes being touted as public space really irritates me - if there are security guards telling people they can't sit there, drink or perform then it's not public space, it's corporate space. Freedoms and liberties I guess. I feel strongly about language and, though I don't meet my own standards, I feel strongly about how we should speak to and teach our children.
- Which exhibitions/events/screenings have you been to see since beginning the programme? Are there any specific aspects of these that have particularly interested you?
- Mostly performance stuff, arnolfini live performance, arnolfini music performance, arnolfini gallery stuff. Invisible circus. various interesting things at the cube cinema. A lot of scrappyer, less polished stuff and better for it.
- The things I've booked myself on/do out of college are: harmony singing. playing the saw, spoons, flute. busking. taking the gramaphone out into the street. contact improvisation. cross-art improvisation. improvised singing. a prop making and automata course (!), experimental textiles course, clowning course. mini-bike dance. bike maintenance session. slack rope practice. yoga. I used to do a lot with plants, i'm still a big fan of plants! The thing i did most recently that i'd like to do more of is the bike festival workshops and, more importantly, things like dreaming up the automata bike music event. That only happened because someone else did all the paperwork and I don't think my part of it went that well as i am over ambitious and under experienced. I do like making things.
- What do you know about contemporary employment practices in your chosen area of specialism?
- that it's competetive, that you need to have a great portfolio and a winning smile plus a great way with applications and interviews. I want to be freelance and don't mind being skint so that bit's ok.
- Are you specifically interested in any aspect of commercial practices?
- performance. celebratory community art. craft. prop making. theatre design. installation. site specific art.
- What do you intend to do at the end of the Foundation Degree? Do you know how you are going to go about this? What do you need to know to pursue your ambitions?
I'd like to do a top up to a BA, probably in fine art/sculpture or performance but I probably won't be able to afford it. I would like to make performance pieces - street, circus, cabaret, or gallery. I think different work for different purposes. I wouldn't be happy just working in gallery spaces as it would probably lead to me pontificating too much and getting too serious where as I wouldn't be satisfied with just producing a nice piece of popular entertrainment as, to ensure easy appeal, it might be advisable not to be too experimental. I want to experiment, but not be restricted to 'art viewing audiences'. I also wish to be a whole lot better at finding out about commissions and writing funding applications and maybe even residencies (need to find out more about how they work) for community arts, performance, events, installations and other projects. The only thing I'm fairly sure about is that I'm not destined to be a two dimentional artist, much as I love drawing. I don't know how to go about doing this, but that's why I decided to do this course.I'd like to work with theatre design or prop making and I feel I have the skills already, what I don't have is a clue of how to get work!
I think the main thing I need in order to fulfill my ambitions is to have faith in my work and abilities and enough 'go getter' confidence to do it - and no, I have no idea how to go about getting it.
ideas for research project.
Research project ideas:
A ven diagram of themes would be nice.
Identity/becoming/belonging
I'm very interested in costume, it's been interesting learning more about fashion and about 'becoming' as a theme within art, the creation of identities.
It's all about carving new tribes, mix all texts up til their soup, then re-sort into new categories of our choosing. Creating 'belonging' e.g. a cockney autonomous zone.
how many images would i need to represent me? can one image express it all? How have others attempted this?
Ruth Jones - to what extent can contemporary art practice stimulate and manifest 'becoming' (something about horses, reminds me of darton and hunt.)
"conceived models of an ideal future life"
I don't like plasticy stuff. I prefer more natural things both visually and ethically but i get bored and put off by the style it's normally done in and it's associations
simplicity/complexity - nomad/skype. cassette crochet. modern/traditonal.
images of breastfeeding/bottle feeding - in media, in art. different?
ethics and art - materials? promoting social change.
pre-modernist sisterhood. ways of using technology to travel back in time. idealised past/future
wabi-sabi
future portraits
the idea of freedom. representations of freedom in art/media. How are they representing it now? has it changed? the names on international train station boards and old radio stations. frequently show as close to nature.
Changes and relationships within the art world
what happens when we view art in different locations?
trends within big shows - turner etc
what is most hated currently? Most ground breaking movements seem to be hated first. What are the rules for this? They are not mutually exclusive, to be hated needn't mean it's groundbreaking but what of the other way round?
have gallery exhibitions become more 'total', more theatrical, more music/sound, atmosphere and experience, are we trying to immerse our audience? Is it becoming more like modern cinemas in that all encompassing way?
audience, artist relationship. allowing audience to experience, be part of the art/action, be the artist. People as selected medium. In what ways have the audience been used as the medium before?
why are crafts boring? are there rule breakers in basketry? can pottery be shocking? Why is art higher status than crafts?
Internet reproduction has de-valued 2D images. Live, 3 D, physical or analogue art is kept exclusive and thus more emotionally valuable. Is this true?
Performance and it's position in the art world.
noise - wind through wire, musical saw, strange singing, spoons. Sound and the gallery space. How has it changed?
history of performative and experiential art. when the 4th wall was broken. Was it ever there? Was it temporary? Where was it? Mummers plays and other older popular entertainment were theatrical with no 4th wall.
history of the musical saw.
What's the difference between art and entertainment? Art becomes making a badge with a code from an old kids magazine. Entertainment becomes dressing up and creating your own walkabout character to attend a circus show. Are the roles reversed?
interview people for views on performance as an art form. what would they go to watch live? would they go to watch if billed as 'performance art'? would they go to a circus? is it art? do they go to cinema? how is it different? would they stop for a street show? and why? how important is it that a performance be 'polished'? If something's funny, can it be 'serious' art?
does circus for camera exist? Dance for camera can be beautiful and strange and not really 'dance' like in a more conventional sense. see Kyra Norman's work.
what is 'classic' or 'traditional' circus/street theatre and why.
Marina Abramovich, Susan Philipsz, Spartacus Chetwynd (do i know any names of current contemporary 2d artists?)
Art and Social Comment
politics and art. protest and art. ethics and art. how do we use them? how have they changed?
since chanel said 'dress like your maid' has it ever gone away? Was there a history of ever having fetishised the working classes before?
What is the current social tension?
how long have we been emulating hookers? prostitution/empowerment ('burlesque' aimed at teenagers)
rebels are cool in hindsight - who are the rule breakers? Lady Gaga's meat dress was shocking? thought provoking?- does that mean she's ground breaking? Shocking needn't mean new or original.
who leads - art, politics, music, theatre... who's the most influential? which crosses over most successfully? who has the higher status?
Moving things
bikes how many ways can you ride a bike?
how many ways can you celebrate bikes?
is the bike a good substitute for horses?
did people revere the bike in art right from the start?
puppets
automata
bike slackrope & juggling rims
skate park tricks
circus tricks
bike polo
colour wheels
the white bike of wales
automata bike band
automata of bike going down hill and nearly falling off
miscellaneous interests
light. glass towers, shadow puppets. lightbox animation. 'arch of innanity' sculpture idea
science in art. so much - how many different diciplines? psychology, physics, chemistry, botany, engineering. Tree bark from different places, comparisons between pollution and not for example...
diy spaces. grass roots art - sometimes boring, sometimes the best, most exciting, most inventive. Cycle festival (though council sponsored was still grass roots), cube cinema, invisible circus, antler, hamilton house, PRSC in this corner of Bristol alone.
A ven diagram of themes would be nice.
Identity/becoming/belonging
I'm very interested in costume, it's been interesting learning more about fashion and about 'becoming' as a theme within art, the creation of identities.
It's all about carving new tribes, mix all texts up til their soup, then re-sort into new categories of our choosing. Creating 'belonging' e.g. a cockney autonomous zone.
how many images would i need to represent me? can one image express it all? How have others attempted this?
Ruth Jones - to what extent can contemporary art practice stimulate and manifest 'becoming' (something about horses, reminds me of darton and hunt.)
"conceived models of an ideal future life"
I don't like plasticy stuff. I prefer more natural things both visually and ethically but i get bored and put off by the style it's normally done in and it's associations
simplicity/complexity - nomad/skype. cassette crochet. modern/traditonal.
images of breastfeeding/bottle feeding - in media, in art. different?
ethics and art - materials? promoting social change.
pre-modernist sisterhood. ways of using technology to travel back in time. idealised past/future
wabi-sabi
future portraits
the idea of freedom. representations of freedom in art/media. How are they representing it now? has it changed? the names on international train station boards and old radio stations. frequently show as close to nature.
Changes and relationships within the art world
what happens when we view art in different locations?
trends within big shows - turner etc
what is most hated currently? Most ground breaking movements seem to be hated first. What are the rules for this? They are not mutually exclusive, to be hated needn't mean it's groundbreaking but what of the other way round?
have gallery exhibitions become more 'total', more theatrical, more music/sound, atmosphere and experience, are we trying to immerse our audience? Is it becoming more like modern cinemas in that all encompassing way?
audience, artist relationship. allowing audience to experience, be part of the art/action, be the artist. People as selected medium. In what ways have the audience been used as the medium before?
why are crafts boring? are there rule breakers in basketry? can pottery be shocking? Why is art higher status than crafts?
improvised and anti-professionalised, enthusiastic... spartacus. what is she influenced by? who else has trodden in her shoes before her?
scrappy
Internet reproduction has de-valued 2D images. Live, 3 D, physical or analogue art is kept exclusive and thus more emotionally valuable. Is this true?
Performance and it's position in the art world.
noise - wind through wire, musical saw, strange singing, spoons. Sound and the gallery space. How has it changed?
history of performative and experiential art. when the 4th wall was broken. Was it ever there? Was it temporary? Where was it? Mummers plays and other older popular entertainment were theatrical with no 4th wall.
history of the musical saw.
What's the difference between art and entertainment? Art becomes making a badge with a code from an old kids magazine. Entertainment becomes dressing up and creating your own walkabout character to attend a circus show. Are the roles reversed?
interview people for views on performance as an art form. what would they go to watch live? would they go to watch if billed as 'performance art'? would they go to a circus? is it art? do they go to cinema? how is it different? would they stop for a street show? and why? how important is it that a performance be 'polished'? If something's funny, can it be 'serious' art?
does circus for camera exist? Dance for camera can be beautiful and strange and not really 'dance' like in a more conventional sense. see Kyra Norman's work.
what is 'classic' or 'traditional' circus/street theatre and why.
Marina Abramovich, Susan Philipsz, Spartacus Chetwynd (do i know any names of current contemporary 2d artists?)
Art and Social Comment
politics and art. protest and art. ethics and art. how do we use them? how have they changed?
since chanel said 'dress like your maid' has it ever gone away? Was there a history of ever having fetishised the working classes before?
What is the current social tension?
how long have we been emulating hookers? prostitution/empowerment ('burlesque' aimed at teenagers)
rebels are cool in hindsight - who are the rule breakers? Lady Gaga's meat dress was shocking? thought provoking?- does that mean she's ground breaking? Shocking needn't mean new or original.
who leads - art, politics, music, theatre... who's the most influential? which crosses over most successfully? who has the higher status?
Moving things
bikes how many ways can you ride a bike?
how many ways can you celebrate bikes?
is the bike a good substitute for horses?
did people revere the bike in art right from the start?
puppets
automata
bike slackrope & juggling rims
skate park tricks
circus tricks
bike polo
colour wheels
the white bike of wales
automata bike band
automata of bike going down hill and nearly falling off
miscellaneous interests
light. glass towers, shadow puppets. lightbox animation. 'arch of innanity' sculpture idea
science in art. so much - how many different diciplines? psychology, physics, chemistry, botany, engineering. Tree bark from different places, comparisons between pollution and not for example...
diy spaces. grass roots art - sometimes boring, sometimes the best, most exciting, most inventive. Cycle festival (though council sponsored was still grass roots), cube cinema, invisible circus, antler, hamilton house, PRSC in this corner of Bristol alone.
Monday, January 3, 2011
chi current debates in the creative world
Takashi Murakami
I had seen a picture of this exhibition before reading this article. I had noticed it and pondered a little, I noticed that it was surrounded by chandeliers and that it was very different. I remember it because I hadn't felt entirely comfortable.
I wonder why versaille. Maybe the Pompidou would have been better - what happens when you put art in an expected location, what happens when it's stumbled upon by accident. I'm sure I react quite differently depending on the location.
For me, I think I'm not particularly entranced by plasticy work or manga cartoons so I felt uncomfortable seeing this work in a setting which dictates that a reaction should happen. I'm not particularly keen on ornate crystal, gold etc either so my reaction is not one of sadness that Murakami's work is spoiling Versaille. If anything, for me I feel that yes, as one of the vox pops said, Louis was very fond of ornate overstatement and had he been brought up today he might well have loved modern art. I think the positioning for me highlights the surroundings in an unfavourable light. It reduces them to simply being a space full of stuff, all stuff is equal. Today I would prefer an empty room with a nice wooden floor.
If I found Takashi's work in an unexpected urban setting then it is quite probably that i'd have a very different reaction and that maybe I'd like it very much.
So how has it changed - more subtle? It's constantly changing, there are always new 'big fish'. The punk/diy scene is always changing slightly and coming back in different ways. It's surely just another example of the commercialisation of radical youth.
British Art Show
freize saatchi turner prize
nottingham contemporary 5 yearly
brit art boom? anything new or exciting?
how can a group be called 'young' for so long?
audience was missing - still? apparently not.
changed the galleries - squatting. diy still going, needs to be especially with conservative cuts.
'get off yr arse and do something'
hearing some new sound and realising you're past it... am i past it already?... what's changed?
leave college, get a gallery, do a show...
what's my desire? is it to 'make art' or 'be famous' make work & make a living preferable!
i don't trust artists who've got more than two assistants...
if yr not having as much fun as a 5 yr old then your doing something wrong!
who's replacing saatchi? i've never been to saatchi gallery! commercial, shiny - it's past it!
golden generation? yeah. but it's all still there, it's an inherant part of people.
yba - they've become the convention
more multi media - music certainly - turner prize...
what do i find interesting? Wire music!!!! http://www.bbc.co.uk/programmes/b00x338l http://wiredlab.org/ really, i find this amazing and lovely and i remember walking with my grandad, god rest his soul, and asking him what the strange noise was, we looked up at the sky a long time.
surely contemporary art is always taken seriously but by the time we notice it's become normal.
conrad shawcross? dissused tram tunnel? www.guardian.co.uk/artanddesign/2009/oct/11/conrad-shawcross-interview-rachel-cooke i like this... i think i'm liking quite a lot of more industrial kinda stuff right now, i hardly ever wax lyrical about highly decorative stuff do i?
what IS a good painting? I can't tell, some are ment to be bad, how am i to tell?
current art climate: much more unstable and performative - and or audience involvement? From what i saw at the arnolfini we're becoming experience faciliators.
gillian wearing
sarah lucas
chapmans
'never been a serious article written about the art, only the money'
martin creed,
david shrigley
is it too shallow at the moment
john latham http://en.wikipedia.org/wiki/John_Latham_(artist)
maybe they're just not in the galleries.
wolfgan tilmans http://tillmans.co.uk/
jeremy deller http://www.jeremydeller.org/
steve macqueen http://en.wikipedia.org/wiki/Steve_McQueen_(artist)
tom ats
phil commins
slow burning - more to say - less shock then?
'complexify' not about entertaining
think deeper, look harder
minimal
paying more attention
a slash - brain matter - still shocking and yet... subtle - like the autopsy string in the arnolfini gallery.
post punk
emily wardel
spartacus chetwynd - "In its improvised and anti-professionalised fashion, her work introduces a measure of the carnivalesque into everyday life." i love what she says.
nathanial mellors
elizabeth price
charles avery
roger hyons
pheoby unwen
luke fowler the subject is sound, and visual imagery takes second place.
michael fullerton the political nuances of art and the aesthetics of persuasion
brian griffiths upported by ropes it suggests a tent and a theatre backdrop, a place of refuge and a moment of illusion. Decorated with embroidered patches bearing the names of various international destinations, it seems to belong to an old-fashioned travelling fair or carnival, ready to be rolled up and shipped onwards as soon as it has worked its doubtful magic.
roger hiorns - copper sulphate
very - exciting - http://www.britishartshow.co.uk/artists/
this, like fashion, is an everlasting game. There is always a current debate and new artists. The new generation are always accused of having nothing to say.
I had seen a picture of this exhibition before reading this article. I had noticed it and pondered a little, I noticed that it was surrounded by chandeliers and that it was very different. I remember it because I hadn't felt entirely comfortable.
I wonder why versaille. Maybe the Pompidou would have been better - what happens when you put art in an expected location, what happens when it's stumbled upon by accident. I'm sure I react quite differently depending on the location.
For me, I think I'm not particularly entranced by plasticy work or manga cartoons so I felt uncomfortable seeing this work in a setting which dictates that a reaction should happen. I'm not particularly keen on ornate crystal, gold etc either so my reaction is not one of sadness that Murakami's work is spoiling Versaille. If anything, for me I feel that yes, as one of the vox pops said, Louis was very fond of ornate overstatement and had he been brought up today he might well have loved modern art. I think the positioning for me highlights the surroundings in an unfavourable light. It reduces them to simply being a space full of stuff, all stuff is equal. Today I would prefer an empty room with a nice wooden floor.
If I found Takashi's work in an unexpected urban setting then it is quite probably that i'd have a very different reaction and that maybe I'd like it very much.
So how has it changed - more subtle? It's constantly changing, there are always new 'big fish'. The punk/diy scene is always changing slightly and coming back in different ways. It's surely just another example of the commercialisation of radical youth.
British Art Show
freize saatchi turner prize
nottingham contemporary 5 yearly
brit art boom? anything new or exciting?
how can a group be called 'young' for so long?
audience was missing - still? apparently not.
changed the galleries - squatting. diy still going, needs to be especially with conservative cuts.
'get off yr arse and do something'
hearing some new sound and realising you're past it... am i past it already?... what's changed?
leave college, get a gallery, do a show...
what's my desire? is it to 'make art' or 'be famous' make work & make a living preferable!
i don't trust artists who've got more than two assistants...
if yr not having as much fun as a 5 yr old then your doing something wrong!
who's replacing saatchi? i've never been to saatchi gallery! commercial, shiny - it's past it!
golden generation? yeah. but it's all still there, it's an inherant part of people.
yba - they've become the convention
more multi media - music certainly - turner prize...
what do i find interesting? Wire music!!!! http://www.bbc.co.uk/programmes/b00x338l http://wiredlab.org/ really, i find this amazing and lovely and i remember walking with my grandad, god rest his soul, and asking him what the strange noise was, we looked up at the sky a long time.
surely contemporary art is always taken seriously but by the time we notice it's become normal.
conrad shawcross? dissused tram tunnel? www.guardian.co.uk/artanddesign/2009/oct/11/conrad-shawcross-interview-rachel-cooke i like this... i think i'm liking quite a lot of more industrial kinda stuff right now, i hardly ever wax lyrical about highly decorative stuff do i?
what IS a good painting? I can't tell, some are ment to be bad, how am i to tell?
current art climate: much more unstable and performative - and or audience involvement? From what i saw at the arnolfini we're becoming experience faciliators.
gillian wearing
sarah lucas
chapmans
'never been a serious article written about the art, only the money'
martin creed,
david shrigley
is it too shallow at the moment
john latham http://en.wikipedia.org/wiki/John_Latham_(artist)
maybe they're just not in the galleries.
wolfgan tilmans http://tillmans.co.uk/
jeremy deller http://www.jeremydeller.org/
steve macqueen http://en.wikipedia.org/wiki/Steve_McQueen_(artist)
tom ats
phil commins
slow burning - more to say - less shock then?
'complexify' not about entertaining
think deeper, look harder
minimal
paying more attention
a slash - brain matter - still shocking and yet... subtle - like the autopsy string in the arnolfini gallery.
post punk
emily wardel
spartacus chetwynd - "In its improvised and anti-professionalised fashion, her work introduces a measure of the carnivalesque into everyday life." i love what she says.
nathanial mellors
elizabeth price
charles avery
roger hyons
pheoby unwen
luke fowler the subject is sound, and visual imagery takes second place.
michael fullerton the political nuances of art and the aesthetics of persuasion
brian griffiths upported by ropes it suggests a tent and a theatre backdrop, a place of refuge and a moment of illusion. Decorated with embroidered patches bearing the names of various international destinations, it seems to belong to an old-fashioned travelling fair or carnival, ready to be rolled up and shipped onwards as soon as it has worked its doubtful magic.
roger hiorns - copper sulphate
anja Kirschner and David Panos - The Last Days of Jack Sheppard tells the story of an 18th-century thief who gained notoriety after a series of spectacular escapes from prison. - i wonder if that's the same as Sam Hall, the folk song. I know the name was changed at one point...
very - exciting - http://www.britishartshow.co.uk/artists/
this, like fashion, is an everlasting game. There is always a current debate and new artists. The new generation are always accused of having nothing to say.
Sunday, January 2, 2011
Luigi Maramotti - connecting creativity
Luigi Maramotti - heir to the MaxMara empire. I'm guessing his family name forms the latter part of the company brand name.
Clothing is a language
innovative
elite top layers of the social pyramid to the bottom - It seems to be the opposite to me at the moment, the style spotters are out scanning the ghettos for ideas to commercialise.
fashion is distinct from style - is it? how? what's the difference? Style is a genre within fashion or anti-fashion isn't it? Within each style there is an element of fashion just waiting to be commercialised if it hasn't been already isn't there?
young/old, male/female, work/play, simplicity/complexity, revelation/concealment, freedom/constraint, conformism/rebellion, eroticism/chastity, discretion/overstatement... tensions... frisson from the contradictions they suggest. - yup. I'm quite fond of young/old, male/female, work/play, conformism/rebellion mostly and mostly using clothes and accessories. This is big news at the moment with all the kids dressing like granny. I think right now i'm interested in the simplicity/complexity one in the form of simple life, modern tools - live like a gypsy but skype your mother. Maybe i need to update my technological knowledge out to fulfill that dream - how do you skype anyhow? Ooh, i guess the simple/complex is where my re-use of modern media comes into things too, constructing out of cassettes, slides, newspaper. Using the complicated but out-dated modern technology to re-create the information lost within in the most simple of languages, the eternal and international visual language.
fashion in an infinite game
though changes in fashion respond to macrochanges in cultures... require human action... doesn't happen by accident - here are the bottom of the pile doing their thing with their big brothers trousers. Individual creative choices spotted and made into 'the work of creative people'
the motivating force for creativeity within fashion is nearly always, or often, cultural... dress like your maid... her ability to intuit the predominant social tensions of the moment - what are the predominant social tensions right now? Certainly lots of what i'd call 'false-empowerment' where people are keeping the role of women as being sex objects and calling it empowerment despite it's negative effect on society as a whole. A film for teenagers called 'burlesque'? Nothing wrong with being sexy or a dancer or anything... and maybe through this 'normalising' of it there will one day come a time when sex workers are respected and revered as doing an important and serious job... but it seems to me that it'll increase the assumption that women are and should be available. Or will it? If all women are posing as prostitutes maybe it'll become obvious that we are not all available? It increases the need for protection. A woman walking will need a man by her side, a woman working as a stripper will be safe while on stage but what of outside after work? I wonder if that'll fit into the other social tension of unstable financial times, cuts in budgets, unemployment. Ska is back in the charts, maybe it really is coz there's a conservative government again. The environment - is it a social tension or is it just that it should be.
So they focus on conceived models of an ideal future life - i guess that's where i'm going with my simple life but using technological advances.
arouse incipient or otherwise undetected desire. usually achieved by the 'lifestyle' associations ... devote themselves increasingly to formulating our identities from visions of an ideal existence. - simplicity/complexity, the romance of a nomadic/natural lifestyle is frequently invoked on catwalks and almost constantly in advertising - a beach and a flashy car. Get closer to nature, find your way over the moors to the ye olde pub with a gps on your mobile. My vision is slightly different though, equally ridiculous/romantic/unrealistic. Either living in the woods or travelling with a horsedrawn circus. My desire isn't to look clean and tidy and get home to a centrally heated house after my rustic experience - or maybe it sort of is - but i want to take that experience further, longer, more rustic, less technology. So, less camping with hi-tech equipment, more slow-tech but documenting it with hi-tech equipment. My intended use of technology is for a different purpose.
many enjoy the challenge of 'unpicking' fashion to reveal the influences... what really matters... to examine how they generate innovative product ideas - er.... maybe i differ from him here! As described in my drift into feminism/fashion/prostitution i'm obviously interested in where the influences came from, why and where they might take us. i'm also, as evidenced in my drifting into an eco-reverie, interested in what type of innovations happen, how, where they might take us and whether they are justifiable environmentally. Sources reflect social issues and flag up current concerns. What of size 0, heroine chic, fur?
almost accidental fashionableness that was the case with the mini-skirt - an accident? really? not linked with the massive shifts in the feminism movement? Maybe that's just heresay then. massive rebellion i thought it was.
new ideas must usually relate to what already exists if they are to succeed.
The designer's creativity must be linked to a project
introduction of something new in to a collection can have enormous implications for supply, production, workability and quality control. Even the smallest of variations can cause a chain reaction which must be assimilated. The potential dangers of creativity are undoubtedly a factor in industry's ambivalence towards it yet to cut it out of the company culture is to risk stagnation and decline. - oh yeah... i'd like to ask some sheep. Shall we ask the herdwick's if they'd like to suddenly produce a thousand times the amount of wool - or shall we ask some merino's if they'd like their coats to become even heavier. there's no wonder everything becomes standardised. And yet this leads to so many cases of stagnation and decline for other industries. I'm finding mr luigi slightly annoying. Who cares about producing more, faster etc products, products, buy, consume! A glut. There are frequent moves toward individuality, handmade, different. Once everything would have been slightly different, it seems that we're looking for that again but we're trying to buy it. I"m not sure that's possible. It feels like a symptom of affluenza but i think it's maybe a more natural reaction to mass-production which is, after all, relatively new.
But as i have argued, creativity is of little purpose unchecked or unsupported. - Did he? When? I'd argue that creativity is of little purpose when it leads to mass-production and i don't mean an artist paying assistants to churn them out, i mean companies producing thousands upon thousands which go in the bin in a month. Well, i guess he's a big man supporting all those little creative people, no problem with it but it's hardly a magnanimous gesture, it's his living. What is the purpose of creativity anyway? Does it have purposes when unchecked and unsupported? yes it does! But I guess most of those people would like a living and for that being 'checked' and supported are pretty important.
designers especially are sometimes particularly reluctant ... it's unnerving to discover that the market does not affirm one's convictions. - Well how's about that! Designers, possibly rubbish, possibly ahead of the times, don't want to be wrong! Stop the press! What was that about supporting creativity? Not so magnanimous now eh mr luigi? I don't want to design products for people to sneer at one week, love the next and bin the week after. That would dry up my creative juices. That would send the muse into a catatonic depression.
The market research, retail, information, fabric, technical research, the social tensions, ambivalences and ambiguities the projections of future life... are transformed first into a drawing. then a form. This is the core of our work, and it has for me a magic and mysterious appeal. the sketches , patterns, prototypes, the styling and accessories are all equally important steps - aw... luigi, you're not so bad after all! Drawing, sketch sketch sketch! bit's of paper everywhere, lots of scratches of biro. a few lines, a few words. a bit of shading. Some measurments. a layout, a plan. a pattern. an aide memoire. a few wiggly lines and a few words are an awsome team, far more than either on their own i think.
If a seam in the back of a jacket can save 20% in the fabric lay, is it worth doing? ... a challenge to the designer since it requires him/her to devise ingenious solutions and should be regarded as a spur to the creative process, not an impediment. - it's true. 'how do i get round that' can be a great moment.
proliferation of opportunities... in other parts of the world - How to get around the labour issues. American apparel seem to have done ok... there are various fairtrade lables. i wonder if maxmara will stay italian for long. not by the sounds of it. I wonder if he'll concider the ethics of his interactions with the cheaper countries.
creating for sale is different from creating for creation's sake - you can say that again! it may stimulate fresh innovations and encourage pushed boundaries in some ways. It's really not what I want to explore though.
The importance of creating in (advertising) is obvious... consistency... absolute, possibly unique, identity.... close collaboration... can add to this a story, an element of conceived reality.
advertising in the fashion field is ... more conventional than in others - is it? Yes as it needs to sell the product but we've seen examples now of fine art/fashion advertising, that's hardly conventional is it? Sometimes you're barely shown the product, which is perfectly normal, you're only shown the lifestyle it'll buy you, just like with life insurance advertising, you don't see the policy! relatively representative and explicative he says - i'm not sure.
promotion means documentation through the press... apparently 'objective' documentation of a product acts as a kind of endorsement - The power of an editorial! The advertising feature.
when these elements are synchronized, a circle is completed where creativity can flow freely. - Mr Maramotti, surely you mean where cash can flow freely? We've already established that creativity is firmly squashed if it leads to reduced sales figures. I would call a statement like that one an attempt at manipulating your readers, but, from the sounds of it, you're the boss so i'd best be careful.
ciao
Clothing is a language
innovative
elite top layers of the social pyramid to the bottom - It seems to be the opposite to me at the moment, the style spotters are out scanning the ghettos for ideas to commercialise.
fashion is distinct from style - is it? how? what's the difference? Style is a genre within fashion or anti-fashion isn't it? Within each style there is an element of fashion just waiting to be commercialised if it hasn't been already isn't there?
young/old, male/female, work/play, simplicity/complexity, revelation/concealment, freedom/constraint, conformism/rebellion, eroticism/chastity, discretion/overstatement... tensions... frisson from the contradictions they suggest. - yup. I'm quite fond of young/old, male/female, work/play, conformism/rebellion mostly and mostly using clothes and accessories. This is big news at the moment with all the kids dressing like granny. I think right now i'm interested in the simplicity/complexity one in the form of simple life, modern tools - live like a gypsy but skype your mother. Maybe i need to update my technological knowledge out to fulfill that dream - how do you skype anyhow? Ooh, i guess the simple/complex is where my re-use of modern media comes into things too, constructing out of cassettes, slides, newspaper. Using the complicated but out-dated modern technology to re-create the information lost within in the most simple of languages, the eternal and international visual language.
fashion in an infinite game
though changes in fashion respond to macrochanges in cultures... require human action... doesn't happen by accident - here are the bottom of the pile doing their thing with their big brothers trousers. Individual creative choices spotted and made into 'the work of creative people'
the motivating force for creativeity within fashion is nearly always, or often, cultural... dress like your maid... her ability to intuit the predominant social tensions of the moment - what are the predominant social tensions right now? Certainly lots of what i'd call 'false-empowerment' where people are keeping the role of women as being sex objects and calling it empowerment despite it's negative effect on society as a whole. A film for teenagers called 'burlesque'? Nothing wrong with being sexy or a dancer or anything... and maybe through this 'normalising' of it there will one day come a time when sex workers are respected and revered as doing an important and serious job... but it seems to me that it'll increase the assumption that women are and should be available. Or will it? If all women are posing as prostitutes maybe it'll become obvious that we are not all available? It increases the need for protection. A woman walking will need a man by her side, a woman working as a stripper will be safe while on stage but what of outside after work? I wonder if that'll fit into the other social tension of unstable financial times, cuts in budgets, unemployment. Ska is back in the charts, maybe it really is coz there's a conservative government again. The environment - is it a social tension or is it just that it should be.
So they focus on conceived models of an ideal future life - i guess that's where i'm going with my simple life but using technological advances.
arouse incipient or otherwise undetected desire. usually achieved by the 'lifestyle' associations ... devote themselves increasingly to formulating our identities from visions of an ideal existence. - simplicity/complexity, the romance of a nomadic/natural lifestyle is frequently invoked on catwalks and almost constantly in advertising - a beach and a flashy car. Get closer to nature, find your way over the moors to the ye olde pub with a gps on your mobile. My vision is slightly different though, equally ridiculous/romantic/unrealistic. Either living in the woods or travelling with a horsedrawn circus. My desire isn't to look clean and tidy and get home to a centrally heated house after my rustic experience - or maybe it sort of is - but i want to take that experience further, longer, more rustic, less technology. So, less camping with hi-tech equipment, more slow-tech but documenting it with hi-tech equipment. My intended use of technology is for a different purpose.
many enjoy the challenge of 'unpicking' fashion to reveal the influences... what really matters... to examine how they generate innovative product ideas - er.... maybe i differ from him here! As described in my drift into feminism/fashion/prostitution i'm obviously interested in where the influences came from, why and where they might take us. i'm also, as evidenced in my drifting into an eco-reverie, interested in what type of innovations happen, how, where they might take us and whether they are justifiable environmentally. Sources reflect social issues and flag up current concerns. What of size 0, heroine chic, fur?
almost accidental fashionableness that was the case with the mini-skirt - an accident? really? not linked with the massive shifts in the feminism movement? Maybe that's just heresay then. massive rebellion i thought it was.
new ideas must usually relate to what already exists if they are to succeed.
The designer's creativity must be linked to a project
introduction of something new in to a collection can have enormous implications for supply, production, workability and quality control. Even the smallest of variations can cause a chain reaction which must be assimilated. The potential dangers of creativity are undoubtedly a factor in industry's ambivalence towards it yet to cut it out of the company culture is to risk stagnation and decline. - oh yeah... i'd like to ask some sheep. Shall we ask the herdwick's if they'd like to suddenly produce a thousand times the amount of wool - or shall we ask some merino's if they'd like their coats to become even heavier. there's no wonder everything becomes standardised. And yet this leads to so many cases of stagnation and decline for other industries. I'm finding mr luigi slightly annoying. Who cares about producing more, faster etc products, products, buy, consume! A glut. There are frequent moves toward individuality, handmade, different. Once everything would have been slightly different, it seems that we're looking for that again but we're trying to buy it. I"m not sure that's possible. It feels like a symptom of affluenza but i think it's maybe a more natural reaction to mass-production which is, after all, relatively new.
But as i have argued, creativity is of little purpose unchecked or unsupported. - Did he? When? I'd argue that creativity is of little purpose when it leads to mass-production and i don't mean an artist paying assistants to churn them out, i mean companies producing thousands upon thousands which go in the bin in a month. Well, i guess he's a big man supporting all those little creative people, no problem with it but it's hardly a magnanimous gesture, it's his living. What is the purpose of creativity anyway? Does it have purposes when unchecked and unsupported? yes it does! But I guess most of those people would like a living and for that being 'checked' and supported are pretty important.
designers especially are sometimes particularly reluctant ... it's unnerving to discover that the market does not affirm one's convictions. - Well how's about that! Designers, possibly rubbish, possibly ahead of the times, don't want to be wrong! Stop the press! What was that about supporting creativity? Not so magnanimous now eh mr luigi? I don't want to design products for people to sneer at one week, love the next and bin the week after. That would dry up my creative juices. That would send the muse into a catatonic depression.
The market research, retail, information, fabric, technical research, the social tensions, ambivalences and ambiguities the projections of future life... are transformed first into a drawing. then a form. This is the core of our work, and it has for me a magic and mysterious appeal. the sketches , patterns, prototypes, the styling and accessories are all equally important steps - aw... luigi, you're not so bad after all! Drawing, sketch sketch sketch! bit's of paper everywhere, lots of scratches of biro. a few lines, a few words. a bit of shading. Some measurments. a layout, a plan. a pattern. an aide memoire. a few wiggly lines and a few words are an awsome team, far more than either on their own i think.
If a seam in the back of a jacket can save 20% in the fabric lay, is it worth doing? ... a challenge to the designer since it requires him/her to devise ingenious solutions and should be regarded as a spur to the creative process, not an impediment. - it's true. 'how do i get round that' can be a great moment.
proliferation of opportunities... in other parts of the world - How to get around the labour issues. American apparel seem to have done ok... there are various fairtrade lables. i wonder if maxmara will stay italian for long. not by the sounds of it. I wonder if he'll concider the ethics of his interactions with the cheaper countries.
creating for sale is different from creating for creation's sake - you can say that again! it may stimulate fresh innovations and encourage pushed boundaries in some ways. It's really not what I want to explore though.
The importance of creating in (advertising) is obvious... consistency... absolute, possibly unique, identity.... close collaboration... can add to this a story, an element of conceived reality.
advertising in the fashion field is ... more conventional than in others - is it? Yes as it needs to sell the product but we've seen examples now of fine art/fashion advertising, that's hardly conventional is it? Sometimes you're barely shown the product, which is perfectly normal, you're only shown the lifestyle it'll buy you, just like with life insurance advertising, you don't see the policy! relatively representative and explicative he says - i'm not sure.
promotion means documentation through the press... apparently 'objective' documentation of a product acts as a kind of endorsement - The power of an editorial! The advertising feature.
when these elements are synchronized, a circle is completed where creativity can flow freely. - Mr Maramotti, surely you mean where cash can flow freely? We've already established that creativity is firmly squashed if it leads to reduced sales figures. I would call a statement like that one an attempt at manipulating your readers, but, from the sounds of it, you're the boss so i'd best be careful.
ciao
gypsy culture/costume etc
Lots of historic, modern, recreations and info on gypsy song, dance, costume, art etc
http://english.svenko.net
this band is based in Russia so mostly it's Russian influenced, as they describe and is sometimes evident in the videos, photos and historic paintings, Roma culture, dress and dance styles etc all carry traces of different countries. They point out that in Russia, spain, bulgaria, hungary and many other countries there will be, for example, songs that to an average british person like myself, will sound like the traditional music of that country. In Spain, flamenco for example, within flamenco there will be some gypsy songs and some spanish songs. Much like, perhaps, most people wouldn't recognise the difference between an irish folk tune and a scottish one although to me they sound different.
http://english.svenko.net/dance/v_scene_22.htm
crazy gypsy dancing in super spangly shirt
http://english.svenko.net/dance/v_scene_10.htm
check out their feet!
http://english.svenko.net/dance/v_cinema_6.htm
old film
http://english.svenko.net/dance/v_cinema_1.htm
old people, young people
http://english.svenko.net
this band is based in Russia so mostly it's Russian influenced, as they describe and is sometimes evident in the videos, photos and historic paintings, Roma culture, dress and dance styles etc all carry traces of different countries. They point out that in Russia, spain, bulgaria, hungary and many other countries there will be, for example, songs that to an average british person like myself, will sound like the traditional music of that country. In Spain, flamenco for example, within flamenco there will be some gypsy songs and some spanish songs. Much like, perhaps, most people wouldn't recognise the difference between an irish folk tune and a scottish one although to me they sound different.
http://english.svenko.net/dance/v_scene_22.htm
crazy gypsy dancing in super spangly shirt
http://english.svenko.net/dance/v_scene_10.htm
check out their feet!
http://english.svenko.net/dance/v_cinema_6.htm
old film
http://english.svenko.net/dance/v_cinema_1.htm
old people, young people
Saturday, January 1, 2011
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