From the Archive; design Boom

James Jennifer Georgina, 2010, by Jennifer Butler, designed by Irma Boom

James Jennifer Georgina, 2010, by Jennifer Butler, designed by Irma Boom

Last week I wrote and delivered a lecture about Feminism to first-year Graphic Design and Illustration students at the University of Brighton. In addition to the feminist art history strategy of re-evaluating under-appreciated women artists, I’d like to stress the importance of presenting female role models to students, more so now that the gender balance in the classroom is tipping in favour of female students while the teaching is mainly done by men. Of course this is an old story; I wrote about the invisibility of women in design in 1995, first published in Eye and re-posted here. Kudos goes to the women’s advocacy groups within design academia and the profession, including WD+RU and Graphics UK Women, who are curating, teaching and writing about women in design. So, with the aim of increasing visibility, as the last few posts have been interviews with the usual suspects, here is an interview with one of the world’s most renowned designers, Irma Boom, who has consistently advocated experimentation with materials and techniques (which is good advice for all), while self-directing her career and occasionally stepping into the limelight to promote her work.
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Issues around archives, part one; Archiving Design Organisations

Screen Shot of Homepage for University of Brighton’s Design Archives listing the individual archives, news and events.

Screen Shot of Homepage for University of Brighton’s Design Archives listing the individual archives, news and events.

Proving the worth of my own archive (flyers, handouts and notes filed), this post recalls an event that spurred me on to apply for an AHRC Collaborative Doctoral Award. Overlooking the time-lag, another prompt to this post is the fact (and it’s a surprise even to me) that archives have become central to my methodology. During my doctoral research I’ve attended a number of academic events at which issues relating archives have been discussed; in this and a subsequent post, I’ll attempt to document those debates.

Archiving Design Organisations
“A Design Archives seminar funded by the Design History Society”
University of Brighton
Grand Parade, Brighton
6 June 2011

Being (at the time) a Visiting Lecturer at University of Brighton and therefore on an events mailing list, news of this day-long-seminar popped into my uni inbox…I was enticed…

Curatorial Director of the Design Archives, Professor Catherine Moriarty, welcomed delegates and identified three themes running through the day’s talks: the historical legacy of design organisations and the responsibility of telling their histories; the current activity of design organisations and how to manage material, record activity and make the past public in a digital age; and, shifts in the way designers work, the future of the design profession and of representative organisations. Catherine also posted a write-up of the event, here.

Professor Jonathan M. Woodham, then in post as Director of Research and Development, recalled how in 1994 the Design Council was reorganised following a report that recommended vacating its Haymarket headquarters; staff cuts of 90% followed. During an event at London’s Design Museum Jonathan voiced his objection to a proposal that the Design Council’s photographic archive be relocated to the Museum, pointing out that “it was a free and public library created with public money, so why should we pay to use it”. He later invited the Design Council to deposit its records at University of Brighton’s Design Archives and “two enormous pantechnicons of material” arrived; 17 years later “we’re still mining it”.
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Conference; data day at the museum

Teamwork and Strategy in the Museum... Lewis Chessmen, Scotland, 12th-Century, British Museum. Photograph by Andrew Dunn. Sourced from WikiCommons/Creative Commons.

Teamwork and Strategy in the Museum… Lewis Chessmen, Scotland, 12th-Century, British Museum. Photograph by Andrew Dunn. Sourced from WikiCommons/Creative Commons.

What does data have to do with me?
British Museum
Great Russell Street, London WC1
5 June 2015

One of the bonuses of working on an AHRC funded doctorate is being able to attend conferences, workshops and seminars that introduce me to subject areas which at first sight might seem tangential to my core subject, but as my research actually crosses disciplinary boundaries I shouldn’t be too surprised when they prove to be incredibly useful. Signing up to the AHRC mailing list and taking notice of emails sent by University of Brighton Doctoral College alerted me to such opportunities. Events that fit this category include a two-day workshop, hosted by Northumbria University Newcastle and Tyne & Wear Archives and Museums, on the subject of “Digital Histories: Advanced Skills for Historians” (reviewed here), and “Using Museum Archives” supported by the Museums and Galleries History Group and the British Museum Collaborative Research Studentship Programme (also, to be reviewed).

I was particularly impressed with another British Museum event, “What does data have to do with me?” and am writing this up in detail because it signposted numerous projects that I wouldn’t otherwise have been aware of. The packed programme featured stellar speakers including representatives from Adobe, the Arts Council, Culture24, Dallas Museum of Art (by Skype), Google, The Guardian, Nesta and News UK. Crucially, though, the day introduced a new resource within the museum…data.
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Grayson Perry; Weaving Media

iPad and iPhone app by Aimer Media

iPad and iPhone app by Aimer Media

The Vanity of Small Differences
Victoria Miro
26 Wharf Road, London N1
From 7 June to 11 August 2012
Visited 21 July 2012

Currently at Royal Academy of Arts, London
From 10 June to 18 August 2013
and Sunderland Museum, Tyne and Wear
From 28 June to 29 September 2013

Not just an exhibition; it’s a six-tapestry cycle, “The Vanity of Small Differences”; a three-programme television series, “All in the best possible taste with Grayson Perry” on Channel 4; a London show and national tour; a book by Hayward Publishing and now an app by Aimer Media; the multiple-media by which Grayson Perry has disseminated his thesis on British class and taste is an impressive exemplar of cross-platform marketing and, in academic terms, of engagement and impact. If Perry were earning REF (Research Excellence Framework) points for a higher education institution, it would score off the scale.

Last summer I watched the TV shows (thanks 4oD) and then stood in front of the tapestries on a sunny Saturday afternoon. It felt like half the Guardian readers of London were doing likewise, but the Victoria Miro gallery was spacious and calm (thanks to a recent addition by minimalist-maestro Claudio Silvestrin). Because it’s a commercial gallery and doesn’t attempt to capture visitors for an all-day session (with cafes and shops), the crowd milled and departed. It was a diverse audience too (possibly because of the TV-tie-in), providing an excellent opportunity for people watching and eavesdropping. A second gallery sofa would have been nice.

A reinterpretation of William Hogarth’s “A Rake’s Progress” (1732-1733), the project is a moral tale for 21st-century Britain. In the TV shows we hear Perry’s aims and motivation, travel with him around the country and go behind the scenes, witnessing his working process, a blend of research, drawing and making.
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