The Future is in development

IMG_2859

The Future Starts Here
Victoria and Albert Museum
Exhibition Road, London SW7
12 May to 4 November 2018
Symposium, “A Toolkit for the Future”, 29 June 2018

I’m a little tired of the future, perhaps because my doctoral research requires me to think about “the future of design museums”, but also I’m old enough to recall another time when the future was centre stage; back when we worried that the Millennium might put a bug in it I edited a book with “future” in the title.* Contextualising our current future obsession (see Nesta’s Future Fest) I teach a semester of Cultural and Critical Studies lectures and seminars to Visual Communication students at University of Brighton, “Visions and Versions of the Future”, where we look at significant moments and sites of post-war design culture, from the white-heat of technological progress to the anti-design roots of Postmodernism, alongside the imagined futures of science fiction, the smoke and mirrors of future-gazers and the commercial hocus-pocus of trend forecasting. The crux of the argument is, we may imagine multifarious futures but they are often prophetic, based on hints, hunches and the cutting-edge of disciplines, so it’s often just a matter of time before we catch up with our imaginations. That (hopefully) runs counter to the prevailing tendency of seeing the future as strange and difficult, whether utopian or dystopian, always out of reach and therefore beyond our capacity to influence or change; that version of the future which got us to the dangerous situation we are in now…
Continue reading

signature

From the Archive; Peter Saville interview

Screen Shot 2017-09-26 at 16.37.26

The London Design Festival is the capital’s most prestigious design event, taking over the city for much of September each year. Back in 2013, Peter Saville won the London Design Festival Medal; I interviewed him for Blueprint and the article is available online via DesignCurial. At the time I asked a number of creatives about their favourite Saville works, and one guest blogger, Paul West of Form, mentioned True Faith by New Order, with photography by Trevor Key. Now, a display of work by that legendary photographer, a regular collaborator with Saville, is on show as part of Hull 2017, UK City of Culture. Trevor Key’s Top 40, features his iconic photographic images for some of the twentieth century’s most famous record sleeves. I’m using this opportunity to post another unpublished interview with a contributor to Sound Design, this time Peter Saville, as a number of their joint efforts featured in this exhibition, which the British Council toured across Asia and Australia in the early years of the new Millennium. These edited interviews come from long phone conversations or studio visits. I tried to keep the interviewees focused on the topic of designing for the music industry, and rather than bombard them with penetrating questions, I preferred to let the designers do the talking and reminisce anecdotal stories about the finer details of working with musicians and labels. You can find the Aubrey Powell interview, here, and there will be more in this series. As I’ve said before, I’m reluctant to post copyrighted images to illustration the interviews, but this Japanese website offering a complete discography of Peter Saville’s record sleeve designs is all you’ll need.

Peter Saville, interviewed by Liz Farrelly on 1/8/2000.

Liz Farrelly: Tell me about your involvement with Factory Records.

Peter Saville: Going right back to the beginning, I was at school with Malcolm Garrett, and at that point our horizons stretched no further than a Hawkwind, Velvet Underground or Roxy Music cover. Then Malcolm went to Reading University, and courtesy of the library there, the history of twentieth-century design became known to us, via his reading list, which included design theory that we at Manchester Art College didn’t get. I started college in 1974 and graduated in 1978. Malcolm did a year at Reading University while I did a Foundation Course and I encouraged Malcolm to do his next three years at Manchester.
Continue reading

signature

First Visit; Tallinn, Estonian

Gallery

This gallery contains 22 photos.

This gallery illustrates my whistle-stop trip to Tallinn, Estonia. I was invited to deliver a paper at a seminar, part of the 7th Tallinn Applied Art Triennial, for an edited version of that paper, see here. This post is about … Continue reading

Seminar Paper; Mediating Design, a case study in diversity

Modes of Mediating Applied Art and Design
7th Tallinn Applied Art Triennial
Soprus Cinema
Vanna-Posti 8, Tallinn, Estonia
21 April 2017

This is an edited version of a paper I presented amidst Art Deco splendor in Tallinn. While the city was still waiting for spring the reception was warm, and the audience and fellow speakers contributed to a lively discussion around the role of media in the mediating art and design. I’d like to thank Triin Jerlie and Keiu Krikmann for inviting me to speak, and the organising committee of the Tallinn Applied Art Triennial and the British Embassy Tallinn for funding my trip. Look for another post about Tallinn, the city-wide Triennial and the Estonian Museum of Applied Art and Design.

This paper is still in the form of a ‘talk’, but also constitutes work-in-progress that will inform the last chapter of my doctoral thesis on the future of design museums. In May, I presented a longer version to University of Brighton MA Art and Design History students as part of the module, Critical Reflection, at the invitation of my colleague, Megha Rajguru, and that version of the talk provided an opportunity to explore changing definitions of ‘interpretation’. The images are from my PowerPoint presentation, and either taken from the Internet or using my Apple iPhone 4S.
Continue reading

signature

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.
Continue reading

signature

First Visit; Vitra Schaudepot

Exterior of the Vitra Schaudepot, by Herzog & de Meuron. Photo © Vitra Design Museum, Julien Lanoo

Exterior of the Vitra Schaudepot, by Herzog & de Meuron. Photo © Vitra Design Museum, Julien Lanoo

Vitra Schaudepot
Vitra Design Museum
Charles-Eames-Str. 2, Weil am Rhein, Germany
Visited, 31 May 2016

I used to go on press trips so regularly that I thought I didn’t need holidays. Travelling on planes and trains across Europe, America and further afield I visited designers, studios, factories and museums. Having swopped my peripatetic lifestyle for a more sedentary teaching gig, this press trip came out of the blue. I previously visited Vitra for a MUSCON conference (read about it, here) and marvelled at the Vitra Haus (read, here), so was aware of the upcoming addition to the extraordinary campus and keen to see the Schaudepot (Open Storage), a relatively new development in museum practice. A return visit wasn’t on my agenda though, so when this invitation popped into my inbox along with a commission to review the Vitra Collection’s new home, I was up for it! My article appeared in Blueprint magazine (no.347, p.36) and is available online at Design/Curial, here. This post adds details from the press conference and a conversation with Curator Janna Lipsky.
Continue reading

signature

The Happy Film; graphic design on screen

Stefan Sagmeister in ‘The Happy Film’, seeking discomfort on the streets of New York. Photograph: Ben Wolf.

Stefan Sagmeister in ‘The Happy Film’, seeking discomfort on the streets of New York. Photograph: Ben Wolf.

The Happy Film
Duke of York’s Picturehouse
Preston Road, Brighton, East Sussex
14 June 2017 at 6pm

I’m not a fan of solo cinema visits but even with my partner-in-crime currently ‘away’, I had to see this just released, much discussed film at this special screening. Right on the money, the power-couple hosts of Glug Brighton, Carl Rush of creative agency Crush, and Helen, the renowned Illustration agent and founder of Agency Rush, invited graphic-design hero (and I don’t use the term lightly) Stefan Sagmeister to show his seven-years in the making documentary, The Happy Film. Despite the lure of a glorious summer evening, Brighton’s historic Duke of York’s cinema was packed with the city’s creative community including a good number of Graphic Design and Illustration students from University of Brighton, come to see the legend in action, for after a film of thrills and spills Sagmeister stepped up for the Q&A.
Continue reading

signature

From the Archive; remembering Lucienne Day

Lucienne Day in New York with Calyx (1951), 1952: The Robin and Lucienne Day Foundation and archive. Photographer: Studio Briggs.

Lucienne Day in New York with Calyx (1951), 1952: The Robin and Lucienne Day Foundation and archive. Photographer: Studio Briggs.

The current issue of Blueprint celebrates the life and work of Lucienne Day in the centenary year of her birth, with articles by and about her. The back pages of the magazine collect previous articles about the renowned designer, including a review I wrote about an exhibition at Manchester’s Whitworth Art Gallery, long before the stunning renovation and addition (mentioned in a previous post about Manchester, here); when I visited the Gallery presented a perfect example of late Victorian institutional architecture, a fine addition to the “Red Brick” University of Manchester. Initially, the thought of re-reading an article written over 24 years ago was a bit daunting, but then it helped me recall my first time in Manchester, an extraordinary day trip, meeting Lucienne Day and Jennifer Harris (the curator and author of the exhibition catalogue), and the privilege of walking the exhibition in their company. A new exhibition at the Gallery, Lucienne Day – A sense of growth, from 14 April to 11 June 2017, examines how plant forms inspired many of Lucienne Day’s iconic patterns. I hope to get back up north to visit it…

Lucienne Day celebrated in Blueprint, no. 351.

Lucienne Day celebrated in Blueprint, no. 351.

“British design’s first celebrity”
by Liz Farrelly
Blueprint, June 1993, pp.36-38
Exhibition review of Lucienne Day: a career in design
Whitworth Art Gallery, Oxford Road, Manchester
23 April to 26 June 1993
Visited 22 April 1993

Calyx screen-printed furnishing fabric, Lucienne Day, Heal’s Wholesale &; Export, 1951. The Robin and Lucienne Day Foundation and archive.

Calyx screen-printed furnishing fabric, Lucienne Day, Heal’s Wholesale & Export, 1951: The Robin and Lucienne Day Foundation and archive.

After a long and distinguished carer, Lucienne Day is being honoured with a retrospective exhibition which, appropriately enough for a textile designer, is in Manchester. Over 80 per cent of her furnishing fabrics are here, supplemented by examples of designs for wallpaper and tableware, showing a great virtuosity of image-making and variety of aesthetics. And while the exhibition sheds light on an individual’s career, it acts just as effectively as a review of changing styles in domestic taste, albeit at the upper end of the market.
Continue reading

signature

First Visit; IKEA Museum

Gallery

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

Guest blogger; Circ in the Museum

From the V&A’s Search the Collections website, using the keyword ‘Circ’. Cabinet, made in 1861 by Richard Norman Shaw. CIRC.96.1 to 12-1963. (Accessioned by the Circulation Department in 1963). ©Victoria and Albert Museum, London

From the V&A’s Search the Collections website, using the keyword ‘Circ’. Cabinet, made in 1861 by Richard Norman Shaw. CIRC.96.1 to 12-1963. (Accessioned by the Circulation Department in 1963). ©Victoria and Albert Museum, London

Originally published on Bloomsbury Visual Arts Blog in July 2016, Joanna Weddell reflects on comments made by the Director of the Victoria and Albert Museum, Martin Roth, on the occasion of the museum winning the Art Fund’s Museum of the Year 2016 award. Joanna co-edited Design Objects and the Museum with me, which is published by Bloomsbury Academic, and available here.

‘The V&A Circulation Department and Museum of the Year 2016’
by Joanna Weddell
Bloomsbury Visual Arts Blog

On 6 July 2016 Martin Roth, Director of the Victoria and Albert Museum (V&A), London, announced a plan ‘to revive the Museum’s legendary Circulation Department’. As a member of the Museum’s Research Department, I was delighted to hear a clear reference to the subject of my chapter in Design Objects and the Museum, co-edited with Liz Farrelly (Bloomsbury Academic, January 2016).
Continue reading

signature