Showing posts with label archive. Show all posts
Showing posts with label archive. Show all posts

Friday, 25 May 2018

Orla Kiely on BBC Radio 4 Front Row




As a fan of surface and pattern design, I was interested to listen to Thursday's edition of Front Row on BBC Radio 4. On the eve of the opening of the first exhibition dedicated to designer Orla Kiely, she was interviewed by Shahidha Bari. Orla Kiely discussed the origins of her work at a kitchen table in Ireland and why she thinks that pattern can make you happy without even noticing.



The exhibition is at the Fashion and Textile Museum in London and is said to "explore all aspects of Orla’s creative output, from lifestyle and fashion ranges to use of colour and detail and the geometry of pattern." 


The exhibition draws "on an archive of over 20 years of work, offering visitors unparalleled insight into her methods and concepts, exploring sketches, mood boards, samples and a range of making techniques."



http://www.ftmlondon.org/ftm-exhibitions/orla-kiely-life-in-pattern/

https://www.bbc.co.uk/programmes/b0b39v7b

Sunday, 9 October 2016

FRIEND, YOU STAND ON SACRED GROUND... THIS IS A PRINTING OFFICE

The BLOCK party last night was an idea chance to visit the experimental digital print room currently within The Northern Charter project space & library.
"In the spirit of a famous broadside by Beatrice Warde (1900-1969), celebrating the eloquence and power of the printed word: digital collages are being developed by Giles Bailey & CIRCA Projects with collaborators visiting the print room each day.

Visitors are welcome to spend time browsing research content, videos and a specially curated reading room. Then work with Giles Bailey CIRCA Projects to re-imagine archival images, texts, and video as digital posters in Photoshop.



The posters are projected onto a sculptural stage-set made by artist Eleanor Wright: an installation changing with the course of the workshops. Following this, the poster designs will be printed and distributed around Newcastle in venues, cafes and bars – acting as footnotes for future artworks to be developed by Giles Bailey & CIRCA Projects for the North East."

On arrival, Dawn Bothwell (one of the CIRCA members), gave us an introduction to the project and invited us to participate and make a poster using imagery chosen from the archive. We then investigated the archive, selecting a few images that caught our attention. As we were scanning the images and creating our poster, Adam Phillips (another CIRCA member) talked to us more about the archive material. We had chosen an image from a pamphlet produced by Star and Shadow cinema and an image from a publication about an art festival in Newcastle that no longer happens. It was a great way to learn about two aspects of Newcastle's cultural heritage that I have not experienced.

This is what we ended up with



I look forward to seeing the range of printed artworks that result from the project.

Tuesday, 20 January 2015

Visit to the Great North Museum archive at the Discovery Museum

This afternoon we had a class outing to the Discovery museum where we met Dan Gordon, Keeper of Biology for Tyne and Wear Archives and Museums. 


Dan gave us a fascinating tour of the archives...



"Several extinct and endangered species are represented, including great auk, moa, dodo, huia, kakapo, blue-wattled crow or kokako, Inaccessible Island rail, passenger pigeon and the only surviving specimen of the extinct British race of the capercaillie.


The bird mount collection numbers around 2,000 specimens and a comprehensive range of British species, including the only known juvenile specimen of a great auk, the only surviving specimen of the extinct British race of the Capercaillie and at least one 18th Century type specimen. Other Extinct species, or those on the verge of extinction, are represented by the Huia, Kakapo, Blue-Wattled Crow, Inaccessible Island Rail and Passenger Pigeon, and there are many specimens of other rare and endangered species.


The study skin collection (around 12,000 specimens) is divided, for the purposes of cataloguing and storage into Palaearctic (the bulk of Eurasia and North Africa) and non-Palaearctic specimens. It is especially strong in material from the British Isles.


The collection of non-Palaearctic study skins includes 4,050 birds collected in Assam, Sikkim and Tonkin during the 1920s, areas which have suffered major environmental deterioration in recent decades. It also include a type specimen of Dickinson's Falcon, Falco Dickinsoni (donated 1863) from Zambia.
The historic egg and nest collection, housing around 28,000 specimens is predominantly British in origin, and provides comprehensive coverage of the national fauna. A small number of exotic specimens include eggs from Siberia.



The museum also holds several historically important marine collections, including the Alder Hancock collection of nudibranchs and tunicates, and George Brady’s ostracods. The marine specimens are complimented by 50 models of sea anemones made by the Bohemian glass-worker Blaschka in the late 19th Century: originally bought for scientific purposes, they are also superb examples of the model-maker's art.



A whale head!




Poisoned spears




The Great North Museum’s botany collections include over 79,000 specimens from a variety of taxonomic groups, including algae, bryophytes (mosses and liverworts), tracheophytes (flowering plants and ferns), and fungi, including lichens. Many of the specimens are from historically interesting collections, some of which are almost 200 years old. Local and national species are well represented.


Insect collections




The insect collection incorporates a large array of Lepidoptera, Coleoptera and Ditptera specimens. All include a large British component, and the Lepidoptera collection is strong in material from the Oriental region, containing a birdwing butterfly collection."


Butterfly collections










Monday, 29 September 2014

Generous Interfaces for Cultural Collections - Mitchell Whitelaw

This lunchtime I went to a lecture by Mitchell Whitelaw in which he talked about Generous Interfaces for Cultural Collections.

"After a decade or more of digitisation, the collections of galleries, archives, libraries and museums are increasingly available in digital form. But I argue that our interfaces have not kept up; the standard search-and-list approach demands a query, shows too little, and discourages exploration. In this talk I will introduce and demonstrate what I call “generous interfaces”: rich, explorable, browsable representations of cultural collections."


The first part of the lecture focused on how digital archives can be organised to enable people to engage with a collection and explore it without having a specific area of research or academic background.





Techniques such as grouping associated material and providing images have been used to prompt people to discover different aspects of a collection that they would not have otherwise have looked at.





Australian Prints and Printmaking have an original way of showing their collection, grouped by decades and in the various types of printmaking e.g. intaglio, relief


http://www.printsandprintmaking.gov.au/explore/decade-summary/






Whitelaw questioned whether we can reintroduce serendipity into digitally, and used serendip o magic as an example








http://serendipomatic.org



The second part of the lecture was about generative interfaces i.e. interfaces that make stuff





I understand this to be DOING something with the information, not purely presenting it, and therefore I see Whitelaw's role as an artist.






http://mechanicalcurator.tumblr.com





He has used software to follow rules to create an endless collection of images that he hopes will lead people to see the material in different ways and will make meaning.


The software chooses 5 images, applies different effects to them (there is a choice of 3 effects that can be used), and then blends these images together to form a new image. This new image can be sourced back to its original components, and therefore if someone sees the image and goes on to investigate it further, it can lead them to a new area of investigation that they wouldn't have otherwise visited.


Mitchell Whitelaw is an academic, writer and practitioner with interests in new media art and culture, especially generative systems and data-aesthetics. His work has appeared in journals including Leonardo, Digital Creativity, Fibreculture, and Senses and Society. In 2004 his work on a-life art was published in the book Metacreation: Art and Artificial Life (MIT Press, 2004). His current work spans generative art and design, digital materiality, and data visualisation.

http://mtchl.net

Tuesday, 28 February 2012

Archive by Joachim Froese

The following image caught my eye as it incorporates my love of books with my visual attraction to layers.