From the Archive; summer anarchy

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It’s the Summer Solstice and I’m re-posting this article as the Glastonbury Festival kicks off and protesters take to the streets for a Day of Rage. In heatwave temperatures (warmest since 1976), the soixante-huitards’ slogan, ‘les pavés, la plage!’ (translates as, under the paving stones the beach) is ringing in my ears. It’s twenty years since I went to Glastonbury; 1997 was a mud bath, two years before it had been glorious sunshine. Both times friends were made and tested, and despite the odds familiar faces popped out of the crowd. That era was all Parties & Protests and although my plans to visit a Euro Teknival didn’t materialise, later that summer I made it to Burning Man in the Nevada desert and learnt the mantra of hydration from the daily newsletter, Piss Clear!

Much has changed; the underground events mentioned in this article were organised without the aid of social media and minimal Internet coverage, even though I make much of ‘the daily mayhem of mobile phones, faxes and pagers’! One source of information (not mentioned in this article, but I wrote about it another time) was the indomitable SchNEWS, a photocopied newsletter reporting on legal and political campaigns and listing direct actions. It worked like this; you posted them a pile of stamps and they mailed you weekly issues. I met the photographer, Nick Cobbing, through SchNEWS, and by an odd quirk of fate have ended up living next door to their old office!

Now, come the summer there’s a stage in a field catering to every taste and subculture. Festivals are bespoke, niche, glampy affairs, with fancy dress, boutique beers, Insta-Stories and Twitter-Moments. This branch of the music, entertainment and events industries has blossomed, fanned by the British love of a camp-fire sausage and a piss-up in a tent. But I’d suggest that the roots were there back in the 1990s, as innovation and diversity were the order of the day. So I’m not complaining, just suggesting that an updated article would be a whole other story. On a more serious note though, the Millennials have discovered politics, and protest is once again in vogue…plus, we have the weather for it.
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From the Archive; You never know when you might need them

Spread from ‘Blueprint’ showing University of Brighton Gallery and exhibition design featuring salvaged fire doors

Spread from ‘Blueprint’ showing the University Gallery in Brighton and the exhibition design featuring salvaged fire doors

I was reminded of this article when visiting another exhibition, George Hardie …Fifty Odd Years, also at the University Gallery at University of Brighton. (Look out for a review of that exhibition, soon).

Back in 2005, Professor Hardie contributed his collection of rulers to You never know when you might need them, and they feature in the opening spread of the Blueprint article about the show, see above. At the time, my husband, Gregg Virostek, was an Interior Architecture student and worked on the exhibition build, while I was beginning to explore an obsession with collecting. That interest has developed into a research topic, as evidenced by this blog. So, as this article has yet to be digitised and made available online by the originally publisher it, here it is for reference.
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First Visit; IKEA Museum

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This gallery contains 36 photos.

IKEA Museum IKEAgatan, 5, 343.36 Älmhult, Sweden ikeamuseum.com Visited, 9 June 2016 Invited to the Press Preview of the new IKEA Museum, I travelled to the company town of Älmhult in southern Sweden. Later I wrote an article about the … Continue reading

Shopping Paradise; objects on display

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This gallery contains 33 photos.

Outside looking in, the glazed facade of Brighton’s premier flea market, Snoopers Paradise (“Snoopers”), projects domestic objects right into the street. Close-up window-shopping is only possible out of hours when external stalls have been packed away, but it draws people … Continue reading

Collecting and sharing; the social life of objects

First Instagram post, 23 September 2015

First Instagram post, 23 September 2015

In Russell W. Belk’s journal article, “Extended Self in a Digital World” (2013) (available for download, here), the notion that our digital and online presence extends our self – mind and body – into the virtual realm, builds on Belk’s initial thesis “Possessions and the Extended Self” (1988), which posits that “knowingly or unknowingly, intentionally or unintentionally, we regard our possessions as parts of ourselves”. And by parts, Belk goes so far as to suggest they become stand-ins, prostheses, building blocks even, of our selves. Belk’s update looks at how the digital turn both dematerialises the self and ups the ante by networking our presence into a diversity of locations, communities, identities and avatars; we can become “multiple characters” so as “to explore different personality possibilities”.

One particular complication was examined by Belk and co-author Kelly Tian in “Extended Self and Possessions in the Workplace” (2005); “the battle that can take place between the ‘home self’ and the ‘work self’ as the time and place boundaries that once distinguished the two melt”. Admitting and allowing such a “melt” to become a positive enhancement rather than a negative detraction has necessitated accepting social media as part of my practice and most recently, Instagram, the photo-sharing app bought by Facebook in 2012 for $1-billion dollars. From an indie start-up it growth in size and popularity at a rate is now outperforming the parent company by a factor of 7 to 1. Why Instagram? Because I was looking for a way to connect multiple strands of my life – work, research, hobby, leisure, obsession – and Instagram’s informality, flexibility and outreach makes it a potentially useful tool. I have a project in mind, and by restricting my usage of Instagram to that specific task I hope to employ social media without lapsing into narcissism.
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From the Archive (and now); Destroy, punk and DIY

So an email arrived inviting me to the launch of Punk.London at Oxford Street’s 100 Club, and I have to admit it didn’t totally intrigue me. Instead in gushed cloudy memories of a dark, sweaty cellar and an uncomfortable din, which I must have endured (it feels like) a hundred times over a couple of decades. But a closer look at the invite revealed this to be an occasion for nostalgia, a celebration of a 40-year anniversary marking London’s punk moment and the start of a movement, a subculture in fact, the long-tail of which has affected both attire and attitude.

Screen Shot from Punk.London website, designed by Brody Associates, inviting D-I-Y participation in a city-wide cultural event

Screen Shot from Punk.London website, designed by Brody Associates, inviting D-I-Y participation in a city-wide cultural event

“Subversive Culture” is the strapline (pardon the bondage-tinged pun), which it is claimed has fuelled creativity (now the Creative Industries) ever since. Over the coming year a host of venues will stage events big and small, backed by the Greater London Authority (GLA); shouting about London’s past punk credentials must have tourist-attracting potential. With an identity and online hub branded by Neville Brody (still demonstrating punk attitude by being “notoriously abrasive”, according to Digital Arts), for me the most innovative element is an prompt to organise your own event; tagged “D.I.Y.” the page offers links to branding and fundraising advice, via the Heritage Lottery Fund (HLF).

Regardless of designated anniversaries punk is perennial, and it doesn’t need much of an excuse to hit the headlines. In 1998 I reviewed an exhibition, Destroy: Punk Graphic Design in Britain, and because it isn’t available on the magazine’s website I’m re-posting it, see below. Yes it was cheeky of me to declare punk to be the only “memorable cultural event in the 1970s”, but that’s a clue to my age. I may have been “witness” to the “heyday of punk” but only just; the article is unapologetically London-centric, too, hardly surprising as I was still at school and London was home. What isn’t mentioned is that I was a lender to the show too, having amassed a substantial collection of vinyl due to a fascination with indie record shops. I sold most of the best bits (the vultures were already circling at the Private View) as I became nomadic, leaving London in April 1998, and had neither the means (no turntable) nor inclination (changing musical tastes) to listen again.
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Issues around archives, part two; Using Museum Archives

Screen Shot of the British Museum’s Libraries and Archives webpage.

Screen Shot of the British Museum’s Libraries and Archives webpage, with information about the Central Archive.

Using Museum Archives
British Museum
Great Russell Street, London WC1
13 July 2015

The audience was welcomed by the event’s organisers, Laura Carter of University of Cambridge and Sarah Longair of the British Museum, who urged us to join the Museums and Galleries History Group and read Museum History Journal, both of which were new to me.

Francesca Hillier, Central Archivist at the British Museum, began her talk with what I consider a shocking fact, that she is the only archivist employed by the Museum, and went on to describe an institution built on eccentricities, which made me realise (again) that I’m as fascinated by the history of museums as by the objects within them. We heard that the Central Archive holds the deeds for the land and buildings of the British Museum; minutes from Trustees Meetings, since 1753; and internal reports and administrative records. Francesca emphasised the Museum’s “very complicated” history that has led to departments also having archives (perhaps due to their quasi-sovereign power despite name changes and reshuffles). For while Keepers were required to justify collecting activity to the Trustees, they also managed to “slip stuff in”, bought or acquired independently, which meant that record keeping was a hot potato. The hiving off of Museum departments into separate institutions – the Natural History Museum and British Library – has further complicated matters as archival material may have followed the objects, or not.
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Sound Design UK Music and Graphic Design; reconstructing an exhibition

Welcome to Sound Design: UK Music and Graphic Design, an exhibition from 2000. Staged on the cusp of the digital communications revolution it has no online presence and is therefore “invisible”. This post is an attempt at digital reparation, an experiment in creating a “trace” for a long-gone temporary exhibition by providing details of the exhibition-making process. The idea for an exhibition on the graphic design of popular music came from David Elliott, then Head of Arts at the British Council in Japan and a keen vinyl collector. I was asked to pitch a concept that would fit the brief and then employed as curator. The exhibition was designed and organised in the UK by the British Council and toured Asia and Australia. Sometimes in a venue for just a few days, it proved extremely popular, surpassed all expectations and toured for nearly three years; before opening in Tokyo it was already booked into venues in Sydney, Thailand, Malaysia and the Philippines. However, there is no British press coverage, probably because the exhibition wasn’t shown in the UK. Masses of media was generated in Asian and a pile of clippings probably resides in the Tokyo office; I saw the fast-growing folder. (Eventually the British Council realised it was missing a trick and started to give touring shows a short run in the UK, with a Press and Private View to provoke media interest; then the LDF launched and constituted an even better reason).

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This is the poster, in situ, displayed at the entrance to the Tokyo venue, The Ground. Instead of installing the exhibition at the British Council headquarters, it opened in this concrete-lined bunker (not the easiest place to hang a show) close to the epicentre of Japanese trendiness (between Harajuku and Meiji-Dori). However, in some correspondence The Spiral is named as venue, which would have been an even bigger deal! David’s brief called for an exhibition of UK music graphics; from the golden years of vinyl when British designers helped to invent the genre of “album sleeve art”, to recent annexation of the aesthetic high ground by indie labels and various subcultures. The aim was to come right up to date with examples of ingenious CD packaging.
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Manchester, old and new; accessible history in a city of museums

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This gallery contains 26 photos.

Manchester is a city well provisioned with museums run by Manchester City Council, University of Manchester, independent charitable trusts, and national museum groups that receive government funding. Courses in Curating and Museum Studies are taught at University of Manchester and … Continue reading

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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