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I love my website on cargo so much more than the hot glue one. I feel like this is really reflecting a professional and artistic growth I have made. I feel like I am able to express my character far more fluidly, and have been able to utilise the platform far better.

once I have finished all my portfolio things, I will be adding a page about travelling. it won't be an obvious one, but I will start to include artworks I have made of all the places I have been. this will be so nice for me but also establish me as an artist who creates in situ, or a travel documentation artist, etc.

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I spoke to lard about hosting my workshop at uni, and he recommended doing it before July, but probably after the degree shoe. as much as I would love to facilitate it during the whole, it won't be possible due to access.

I was thinking, however, of hosting the first part of the workshop duringng the show - whwre people learn about colour and gardens together.

I have decided to host the workshop on the last week of June in riso with lars, and will have three people attending it. for the next few weeks, I will begin to design a poster for it and share it online. I might use a platform like eventbrite to ticket it and arrange the costing of it after I submit my work for this unit. I am really excited as I have never done something like this before on my own, and it will be a great first professional thing to do.

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drafting out a message to send to external visitors for the degree show

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drafting out a message to send to external visitors for the degree show

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my website remains a work in progress, as it will be changing and adapting as I merge into a professional. this also means that I will be using it and editing outside of the purposes of uni. while I want to demonstrate in this project that I have a well rounded professional portfolio, I will be working on developing it as it is very much for my own personal use.

I have also made this pallet full of random bits that perhaps have little or no explanation - this is because I want to use this site as reference now that I am about to leave uni. I have come across so many useful links, ideas, resources, and opportunities, and I will be referring back to this in the coming future, saving this online space as a pdf before I lose access!

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Sophie and silva handing out the posters!

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Sophie and silva handing out the posters!

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riso print 300 postcards (budget of 70 for this)

use miyukis money from the exhibition last year to post the cards - up to around 100 for this

send the rest to local bars, shops and cafes. refer to the list you made a few weeks ago

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I sent out a budgeting email for the degree show, asking the marketing and shop teams what they were wanting. I got a really good answer from the visual marketing team for their publication, but things like stickers and the rest are all vague. I decided to look up places to go on my own just so that we had a rough idea of what the spending ballpark was.

I feel like things are a bit turbulent and that I may have to just be an in between for some roles. the shop are still caught up on where the money will be going, and I just want to make sure they have everything they need to make the shop run smoothly for themselves.

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as I am on the operations team, I am a sort of middle-person to the different dynamics in the show.

me and the team have arranged a pub quiz at the pelican in order to fundraise for the show. we have also arranged meetings between student reps, and sent out different emails between tutors and peers in order to try and make sure things are communicated properly.

I am having a bit of a hard time sticking to this one role, though, as I feel like things are getting difficult between the shop and the design/visual marketing teams. I want to step in, like I would have done in the past, but I worry it may get a bit overwhelming for people and I don't want to take over like I have done in the past. I feel like this may create an imbalance in the workflow, and people shy away. I am hoopoe to h=be close to the team reps - I feel like my group are really great at taking initiative, but again I just don't want things to go crazy just because a few of us have the loudest voices.

however, I want to make sure everyone feels included, so I have been messaging people who have missed meetings and speaking to anyone who is in teams with less outgoing people. for example, I have been trying to make sure Chloe is okay with the showreel, and making sure they are aware that they always have someone to help if needed.

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Practical Information

The one-year Fellowship will begin in October 2024 and end in October 2025.

The Fellowship includes a residency period in Cambridge, typically of at least six months up to one year. Exact dates of the residency period are flexible and will be agreed with the selected artist.

Financial Support

A stipend of 10,000 GBP(£) will be paid to the successful candidate. This amount includes all taxes and is a contribution towards the artist's living costs and expenses

Rent-free accommodation and meals will be provided at Girton College during the residency period in Cambridge

A production budget of 10,000 GBP(£) will be made available to support the development of new work

A travel budget of up to 3,000 GBP(£) (depending on where the artist is based) will be available to support the cost of travel to/from Cambridge during the Fellowship

Please read our Questions and Answers before applying.

Download a copy of the application form questions and word limits here to help prepare your submission

The deadline to apply is Sunday 19 May, 23:59 British Summer Time (GMT+1).

We will only accept submissions received before the deadline.

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Cavendish Arts Science seeks to create new encounters between art and science that help us to examine the world and our place within it through the creation of new artistic work.

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Workshops I've previously run include: illustrated map making at the Design Museum; imaginary creature collage at The Grant Museum of Zoology; Dada inspired zine making at InvestIn; a character design workshop with The Big Draw; and fashion life drawing at Here After Vintage.

I also teach regular illustration courses for adults at City Lit.

My number one aim of all my workshops is to encourage creative confidence, and provide a relaxing environment for people to learn and make art.

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Workshops I've previously run include: illustrated map making at the Design Museum; imaginary creature collage at The Grant Museum of Zoology; Dada inspired zine making at InvestIn; a character design workshop with The Big Draw; and fashion life drawing at Here After Vintage. I also teach regular illustration courses for adults at City Lit .

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Photography by Torsten Drever

A Filipino/Italian illustrator living and working in Berlin.

Favorite subjects to draw center timeless topics such as power, money, science, death, love and fried chicken.
Outside of work you usually find me developing vegan recipes or losing at overcomplicated board games.

For comissions: hi@madebyari.com

Represented by Roar illustration agency.
My agent Skye Kelly-Barrett: info@roarartists.com

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Bright colors telling you terrible things. My work centers on timeless topics such as power, money, science, death, love and fried chicken.

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Ancient Rugs — Noa Goffer Illustration Portfolio

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Welcome to the creative world of Noa Goffer, a Tel Aviv-based illustrator and artist known for vibrant and unique artwork. Dive into a portfolio filled with diverse projects for global brands like Facebook, Lemonade, WeTransfer, and more. Explore, connect, and let’s create something amazing together.

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Hardcover, 36 pages, 8.5"x 1 1"

Limited edition of

Paperback available .

"I like to think of Anthony Coleman's drawings as a pantheon of deities, a crossover universe of characters worshiped through mass-consumption, the artist's folkloric refigurations an act of love. Gumby, Spongebob, Carebears, Lizzo, Garfield, Moss Man, C3PO, Flame - as rendered by Coleman, these are icons and idols, but also friends. That they are iconic, these superheroes and comic creatures, is unavoidable by the way they're recognizable even when Coleman makes them strange. But in doing so he also makes them his own, and we sense that there's a deep connection there, between the artist and subject, and we know so because we have it ourselves, a feeling of intimacy with these pop figures, even if we share knowing them with millions. With his idiosyncratic treatment, Coleman returns the aura to franchised creations, works of art made grand in the age of mechanical reproduction, his small colored-pencil drawings, a testament to how today pop is the raw material for lore. "

- Whitney Mallett

I Like Drawing is part of Blurring Books' new series of Limited Slim Publications (LSPs).

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I Like Drawing Hardcover - Blurring Books

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Hardcover, 36 pages, 8.5"x 1 1" Limited edition of Paperback available . "I like to think of Anthony Coleman's drawings as a pantheon of deities, a crossover universe of characters worshiped through mass-consumption, the artist's folkloric refigurations an act of love.

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Not only one of the 20th century's most significant designers, Mari was also an artist, teacher, theorist, and more. During his prolific career, he created countless enduring and timeless designs, filling the homes and streets of the Milanese and beyond. An outspoken critic of the design industry, his uncompromising belief in the social responsibility of design resonates powerfully today, as we face ecological and ethical issues with ever greater urgency.

This unmissable retrospective which debuted at Triennale Milano in 2020, will span Mari's 60-year career and bring together hundreds of his projects, ranging from furniture, children's books and games, product and graphic design, to more conceptual installation-based works. Archival material will provide greater insight into Mari's research process, and the key principles that guided and unified his work.

Alongside this exhibition, the museum will also host a related free display featuring a number of commissioned tributes from contemporary international artists and designers in celebration of Mari's extraordinary life and legacy, to be on shown on the first floor's balcony.

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Curated by Hans Ulrich Obrist with Francesca Giacomelli. The major exhibition will celebrate the life and work of one of the greatest Italian designers of the 20th century, Enzo Mari, whose designs have inspired generations of creatives around the world.

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Changes to the Team London Volunteering Website - FAQs

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For users of the Team London Volunteering Website. ‘How to’ guides and resources for all your volunteering needs

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I SECRETLY LOVE THIS STUFF BUT I DON'T HAVE THE HEART TO TELL IT by Da

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280 x 200mm, 12 pages, Risograph printing, Gold clasp bound, Softcover, Hand numbered, Ed. of 50, 2017 Lots of kitsch. Cute puppies, shiny unicorns and swans in love. Everything in full gloss. Published by

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Garden At Prospect Cottage, The gravel beach stretched relentlessly

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With the new exhibition that has opened up at the Garden Museum of Derek Jarman and his garden at Prospect Cottage I picked up my copy of the book

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Checkout the amazing indoor and outdoor facilities available to members of The Inner Temple.

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Attend one of London Terrariums’ DIY terrarium workshops, and create your very own terrarium to take home. Events take place monthly, or get in touch to organise a private event for you and your friends or colleagues.

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Japanese kawaii idol music culture news | Tokyo Girls Update

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The Magazine "Olive" Made Japanese Girls Aware of The Rare Value of Girlhood and Maidenhood : The "Kawaii 2.0" Theory vol.6

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On the subject of Japanese magazine culture and girls' culture, there's one magazine that can't be o...

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In 2011 artist Jef Geys and curator Nicola Lees commisioned me to execute the artist's work on location in the Lake District, UK. I worked with Pascale Berthier to collect and document specimens of biodiversity along a roadside chosen remotely by Geys. The completed works were exhibited as part of the Serpentine Galleries 'Garden Marathon'

Jef Geys Quadra Medicinale: Weeds and Biodiversity

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Jef Geys Quadra Medicinale - Photographs by Lewis Ronald

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In 2011 artist Jef Geys and curator Nicola Lees commisioned me to execute the artist's work on location in the Lake District, UK. I worked with Pascale...

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The impact of humanity on our planet since the industrial revolution, especially in the second half of the 20th century, is said to match that of the thousands of preceding years of geological change. What has turned into an environmental crisis of global scale, in fact, has its origins in countless yet specific local events and situations in industrialized countries around the world, which provides a framework to Our Ecology.

This exhibition will feature four chapters of diverse expression courtesy of an impressive lineup of 34 artists from home and abroad, and about 100 works to total - from historical works to a number commissioned especially for the exhibition. The first chapter, "All Is Connected," touches upon the complex intertwining of environment and/or ecosystems with human activity. The next chapter, titled "Return to Earth," reexamines works by Japanese artists from the 1950s to 1980s, decades in which pollution formed a dark downside to the country's rapid economic growth. The third chapter, "The Great Acceleration," introduces works revealing the exploitation of the Earth's resources by mankind, while at the same time offering a kind of hope. The fourth and final chapter, "The Future Is within Us," is devoted to today's diverging discussion around utilizing ancient as well as cutting-edge technologies for drafting possible futures through artistic expressions of activism, indigenous knowledge, feminism, AI and collective intelligence (CI), and also spirituality.

Above all, the title Our Ecology: Toward a Planetary Living asks who we are, and to whom the Earth's environment belongs. The exhibition urges us to think about environmental problems and other issues not only from an anthropocentric perspective, but also by looking at the Earth's multiple ecologies from a broader, more comprehensive standpoint. This sustainable exhibition, designed to reduce the use of transport to a minimum and to reuse and recycle as many resources as possible, will make the Mori Art Museum a place to contemplate how contemporary art and artists have to date engaged with environmental issues, and how they can continue to do so in the future.
Click here to see installation view

Mori Art Museum 20th Anniversary Exhibition
Our Ecology: Toward a Planetary Living

Organizer

Mori Art Museum

20th Anniversary Sponsors

OBAYASHI CORPORATION
SHIMIZU CORPORATION
KAJIMA CORPORATION

Corporate Sponsors:

ASO GROUP
KINDEN CORPORATION
TOYOTA MOTOR CORPORATION
MITSUBISHI ELECTRIC BUILDING SOLUTIONS CORPORATION
SAIKYU KOGYO CO., LTD.
SANKI ENGINEERING CO., LTD.
TAKENAKA CORPORATION
Unicharm Corporation
YUDENSHA CO., LTD.
Sakurai Kogyo Co., Ltd.

Support

Chiyoda Ute Co., Ltd.
Champagne Pommery

Grants from

Agency for Cultural Affairs
The Swedish Arts Grants Committee
The Swiss Arts Council Pro Helvetia

Supported by the Agency for Cultural Affairs, Government of Japan in the fiscal 2023

Production Support

Fondation d'entreprise Hermès
Delta Electronics, Inc.
SEKISTONE Co., Ltd.
Odawara Meikosha

Curated by

Martin Germann (Adjunct Curator, Mori Art Museum)
Tsubaki Reiko (Curator, Mori Art Museum)

Guest Curator for Chapter 2:
Bert Winther-Tamaki (Professor, Art History Department and Visual Studies Ph. D. Program, University of California, Irvine)

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Mori Art Museum 20th Anniversary Exhibition Our Ecology: Toward a Planetary Living

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The Museum mainly has modern art exhibitions in a variety of genres, including fashion, architecture, design, photography, and video.

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I'm starting to brain storm some ideas for next year's spring garden projects early and have soil amendments on my brain. Been fighting heavy clay soil in Alberta for years and am gonna stop amending it and just pull it all out and start from scratch.

There are things like bulk garden mix, which I might just use as a control in one bed, but want take a shot at building my own soil recipe. An ingredient that's come up sporadically, but doesn't seem to be widely used is crushed ceramic. A very porous material I'd think it's have great micro pore potential for water retention and mineral ions. My guess is that it's not used very widely because in large quantities it may be hard to find not contaminated with other construction materials.

I've found several people on classified advertisement websites in my area with PALETTES of un used roof tiles that I'm thinking of picking up and giving a go. Would have to crush them myself and will do some other research into the manufacturing process if there's some chemicals present in the ceramic I'm not aware of.

Has anyone here some thoughts on this idea?

I'd be using it in combination with bio-char, peat moss, crushed sea-shells, normal compost, and then the rest some regular "garden mix" from a bulk store locally.

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I'm starting to brain storm some ideas for next year's spring garden projects early and have soil amendments on my brain. Been fighting heavy clay soil in Alberta for years and am gonna stop amendi...

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Why are there pottery shards in terra preta?

When I did my video on my attempt to recreate terra preta, many people wondered what role pottery shards played in the original mix.

Here's my video on our attempt to make terra preta:

"Why add broken pottery?" I was asked.

Perhaps the pottery shards were incidental, and not part of a plan to improve soil. Heck, maybe terra preta itself was a complete accident of primitive waste dumps.

Or maybe not. We don't know anything for sure about how terra preta was created. We just know that it stays rich and fertile centuries and that it contains bones, pottery shards and charcoal.

I added all three to my mix. Without an understanding of "why," sometimes you just have to "do" and see what happens.

This morning I received an email from Jordan that appears to fill in one piece of the puzzle: the ubiquitous pottery shards found in terra preta soils. They do have a use!

The Effect of Pottery Shards in Terra Preta

Jordan writes:
I've been making biochar for a while now, and studying terra preta profusely. Pottery shards are a key aspect often overlooked, but they are hard to come by in abundance.
He attached this video, demonstrating how the use of pottery shards effects terra preta:

Jordan continues:
We've been digging a retention pond to stock fish, and I now have plenty of soil. I've made pottery clay a few times now. I roll it into long thin strips and put it inside my bio char retort, and usually by the time I have char, the clay has been fired, and being rolled long and thin it's cracked and shattered down to a good soil aggregate size, ready to use.
Sounds like a simple method that anyone could do at home. Someone in the comments of my video on making terra preta noted that the plants growing on top of a pile of old bricks did much better than those growing without bricks. Can you imagine? The first thing most of us would do in our gardens is to take out the bricks!

In the video Jordan sent, a group of people make clay patties for their soil with low-tech methods, probably not dissimilar from how the Amazonians created their pottery.

Making Pottery for Terra Preta

At the beginning of the video, the wicking of water up a clay brick is shown, leading to the germination of a seed which then proceeds to grow healthily despite its very tiny amount of soil.

From there, it progresses into the making of low-fired clay patties to use in terra preta soils.

The Process

First, two women take dry clay and smash it down into powder, removing stones as they go:

Then water is added to the dry clay mix and kneaded by hand.

After the clay is at the right consistency, small handfuls of it are pressed into clay patties and set aside to dry.

After drying, these patties are placed into a pyre of dry wood, which is then lit.

When the fire burns out, the resulting fired clay patties are removed to be used as a soil amendment in creating terra preta.

At the end of the video, the wicking power of a stack of fired clay patties is shown:

So why are there pottery shards in terra preta? The most obvious answer is for their wicking effect. The shards almost act as sub-soil irrigation, moving water through the root zone of plants and making it easier to access.

I have a bed out in the garden that needs some work to bear better crops. The garlic I planted in it last fall did poorly, so I'm going to re-do the bed with lots of amendments to improve it for this coming fall. It's obvious now that I need more clay. I'll get the kids making patties, plus I've got some bisque-fired pottery shards from a local pottery studio I can add. Heck, maybe I'll even throw a few bricks in it. There are old bricks scattered all over the yard.

Stay tuned. We've got experimenting to do.

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The Effect of Pottery Shards in Terra Preta | The Survival Gardener

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Why are there pottery shards in terra preta? When I did my video on...

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I ordered a paper sample to see if there were any other types of paper I wanted to use for the riso book I was making. I want to create something that feels special to hold, and I feel like for this I want visually slightly textures, heavier paper.

I researched different places across London that I could get paper from, and found GF to be the most reasonable. however, considering riso's temperance with different paper types, I eventually opted out of outsourcing paper. the Shiro off white is perfect for the work I make, and the most ecologically reliable. I feel like looking for new paper has helped me realise how much I would prefer to use shiro for the whole book.

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this is the first website I ever made - it was on hotglue.com, though I can't seem to find the domain or account on it right now. I made this when I was in second year and I feel like it looks fun but just not at all professional or exciting to engage with considering it is for my professional practice.

I hope to develop a new website on a platform that is a little more sophisticated (as pretentious as that sounds, I just don't think want to continue with hotglue!). I think cargo will be a good one as it is very well thought out and offered a lot of creative liberty. I think sites like square space or six are too template based, and I think this could be a bit restrictive for me as iw ill just want to stick to those templates.

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140 shiro off white

40 shiro bright white

96 masters !!!!!

this has cost me £284. I am still under my budget, but I am so happy I set aside exactly as much as I have. I feel like I have been able to create riso prints without a massive regard to how restricting my making. I will likely never get this much freedom with it again, so I am incredibly proud to have been able to offer this for myself

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I suppose something that I feel the need to articulate is what I mean by care, especially in the garden. I want to acknowledge the cares and therapies that revolve around ecology and between people and the earth, and what I am contextualising my work on in this unit is the systems that make up care within these spaces, and how it is cultivated. by this I mean tenderness between creatures/beings, between human and nature. I am still working on developing work that breaks down the binary between human and nature, and I now am beginning to articulate it as core. it is gentle, subtle, and transformative

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If you're new to care farming, you might be wondering what the term means. Find out what care farming is and what care farms do.

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by dario for lin - ive had this zine for years and I absolutely adore it! so playful as silly. a little piece of my heart

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I SECRETLY LOVE THIS STUFF BUT I DON'T HAVE THE HEART TO TELL IT by Da

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280 x 200mm, 12 pages, Risograph printing, Gold clasp bound, Softcover, Hand numbered, Ed. of 50, 2017 Lots of kitsch. Cute puppies, shiny unicorns and swans in love. Everything in full gloss. Published by

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part of doing a project on gardens is understanding the ecological impact of my practice. I have wanted to approach this with an intentional mode of creative experimenting, meaning there have been times where I have created artworks for the simple sake of practice rather than finalisation. I found this somewhat difficult to process with ceramics, as to completely finalise a piece would mean to render it unsustainable if it is not to the standard I have desired/doesnt work/is broken.

riso is great for sustainable practices as it utilises purely soy-based inks. this, combined with the shiro paper that I am using, allows for a practice of making that is deeply ecologically aware. shiro paper is made using recycled materials, so that any artworks I make with riso on that paper can be recycled easily, or broken down. of course, the risograph is a machine that uses power to create work, ut I have looked into risos functions and found there the machines are made with an awareness of this, and lend themselves to being low-power, using less energy and maintaining an ecologically sustainable process.

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Changes to the Team London Volunteering Website - FAQs

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For users of the Team London Volunteering Website. ‘How to’ guides and resources for all your volunteering needs

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I suppose the main aspect of it is the contexts the work is situated in. will people feel engaged with the work I have made in these situations? is a gallery space more or less accessible, or does it depend on other factors?

I feel like, although the process of the work is quite elaborate, the fact that it relies on colour as the main experience makes them relatively easy to enjoy for a wide variety of people. in fact, when I visited home, I saw my mum at work who works with adults with autism and when they asked me what I was doing at uni, I showed them my riso works and they found it very exciting and relaxing (if not a bit weird imagery-wise). I found this so lovely and interesting, and I began to consider what sort of dynamics my work functions with audience wise, and how accessible it is for different peoples.

one thing I do realise is that my entire practice methodology proposal eliminates the engagement of access for people who are colour blind. this is especially true considering my work is reliant on the four different colours that make them up - the YRGB process I have used in riso - as well as the fact that most of these works are saturated in red/pink tones, primarily eliminating access for people who have red-based colour blindness. of course, I understand that the imagery is still there, but the experience I am cultivating regarding the dismantling of the binary through colour and the emulsion of care created between human and space/nature through colour is nullified if the person experiencing it cannot actually engage with colour in the same way as me. this closes my work off to a huge group, as colour blindness is quite common (especially in men). there is not much I can think of to work around this. I feel like even if I wrote lots of context behind these pieces in exhibitions, etc. it would still not be very fun of an experience as the entire point of it is to relate to the pieces and see/feel the colour. also, the pieces of writing are likely to be incredibly academic, which could render another level of inaccessibility to the artworks as academic language can be complex to digest for people who either have a complicated relationship with reading/don't have a fluent grasp of English/are not able to read complicated academic language. these are issues I am unable to understand how to manoeuvre, and have considered them throughout this unit so far and tried to engage with in different ways. I have tried to keep writing to a minimal as I wanted to focus on creating methods of connection that are purely visual as these are often more accessible. I can see that there are still obstacles of accessibility, however, and hope to be able to engage with these with an open and contemplative mind, just as I have tried in this unit - going forward.

my workshop is also filled with academic language, and I understand that to even be able to attend this would be an accessibility problem in itself as I would likely have to charge a fair bit of money. I am curious as to how budgeting for it will work. I have thought about this a lot, and considered that it would be unfair for me to set a base price on it as I want it to be as accessible as reasonably possible - this is actually why I included the steps for beginners and steps for more advanced users. I would charge the workshop in accordance to the fees the studio will offer, however I understand that often these things do not fill up so this could leave me with a gap in charges. adding to this, physical accessibility is likely going to be restricted, both due to fluctuating spatial restrictions of the studios, and the nature of the activities. I hope I could provide with alternative modes of image making for peoples who have lower mobility with their hands, and I could offer access in using the riso by perhaps teaching a care-helper accompanying them, or stepping in and finalising any steps. these are all physical access considerations, and I am unsure how to help participants with mental access needs - this is making me think about taking training courses in these things. I think that to be a facilitator you need to be prepared for offering comfort and accessibility to a wide range of bodies and minds. mental health training would be a good place to start, and perhaps I could find a way to get it funded through an external group eventually as I know it can cost £200

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I loved finding his artworks when I was in Tokyo - it's all very sensory-mapping-esque and entirely nature based. he's kinda speaking my language, visually. I would love to be at a stage with my visual practice where I could explore spaces in such a fluid and intuitive way. I am enjoying where I am going currently, and I feel like ando has shown me a very fun way to showcase and explore simple drawing a nd reportage art

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reflecting how my trip to Japan has influenced my visual practice

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reflecting how my trip to Japan has influenced my visual practice

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Through looking at the visual work I have been making over the past few weeks, I can see how I have begun to approach image making from memory/my own photographs in a very expressive, yet playful, at times almost child-like, and fun manner. I have been having so much fun with creating these artworks and have deeply enjoyed guiding my image making through intuitive expression and critical engagement. I am approaching the use of colour in a very considerate, intimate, but open minded manner, which has allowed for intuitive processes of making that I have never really engaged with in the past.

I feel like I have begun to play far more with design and have created works that showcase a perhaps more naive and un-complex skillset with regards to digital software. however, these works have gotten a really warm response to them and I have found I care less about showing people work that I may not be overly confident in. I have been more open to constructive feedback as I have been able to articulate that my work is simply an exploration of expression, rather than a deep insight into anything about me.

I sincerely think that the visual inspiration I got from my trip away has impacted my work so much in this unit - not just in the way I understand gardens, but in the way I understand how my work is made. I really cherish the simplicity and aloofness of it right now, and have loved playing in ways that are simply about learning.

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I love how the bleed is created here - the texture is so glowy and strange. it was completely by accident, and I can't wait to see how my other pro marker drawings will come to life through this process

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this exhibition was really interesting as I got to see an artists multi-disciplinary responses to critical thought and experience. I especially liked her automatic drawings. Ono is such a bad bitch and I feel like these images really showcase an intuitive and deeply articulated form of understanding the world. I really enjoyed seeing how her voice is reflected in the different art forms, and even how it changes as she's grown

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I loved getting to deep dive into a designers work, one who has a very fluid and multi-disciplinary practice. seeing how his design voice comes through in his different works is so interesting and I loved getting to explore this while considering how my illustration practice may reflect through different mediums.

although I may not be a deeply multidisciplinary artist, I feel as though the more I learn about a medium, my practice shifts in an understanding of how those processes bring artwork to life. in learning riso, I have been engaging with colour in a very hands-on manner. this has made me think a lot about how my last unit was so focused on colour, and now I am engaging with it in a very intentional and almost painterly manner. colour was a signpost in my last unit, and in this one it is becoming a methodology/key ingredient and method of creation that is building up my imagery.

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milky coffee chewing gum hahaha (I actually had some I brought back it was pretty good :,) )

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from 'Chewing Gum's Wrapping Paper Collection' by Kozuchi, Y.

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from 'Chewing Gum's Wrapping Paper Collection' by Kozuchi, Y.

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I love the fun poppy colours used ! this book is just full of different chewing gum packaging from Japan. very reminiscent of the simple, playful design I saw there. I feel like I have been approaching my visual practice with this inspiration, and I have so much pleasure in seeing it used all in a book. I love how fun it is and have really enjoyed exploring it as it has been a very freeing and intuitive method of making.

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Inflatables, webbing, iridescent foil, elastic Ballons, Gewebe, irisierende Folie, elastisches Band ø 170 cm approx. (cluster) Edition of 3 plus 1 artist's proof (#2/3)

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I appreciate these examples, however they articulate gardens in a very abstracted sense. I think this is interesting as it approaches critical thought in a relevant way to my own in reference to the garden. I feel like this is an interesting artwork when considering communal play, as well. I like to think of how people may interact with each other through this, verbally or visually, and how the space we enter change with this and the context behind it. I wonder how this relates to the concept of a workshop.

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Inflatables, webbing, iridescent foil, elastic Ballons, Gewebe, irisierende Folie, elastisches Band ø 170 cm approx. (cluster) Edition of 3 plus 1 artist's proof (#2/3)

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13 October 2015 - 3 April 2016
Turbine Hall, Tate Modern
Admission free
Open daily from 10.00 - 18.00 and until 22.00 on Friday and Saturday
For public information call +44 (0)20 7887 8888, visit tate.org.uk, follow @Tate #EmptyLot

Tate Modern today unveils the inaugural Hyundai Commission in the Turbine Hall by Abraham Cruzvillegas. The first in a new series of annual site-specific commissions by renowned international artists, Empty Lot is a large new sculpture provoking questions about the city and nature, as well as wider ideas of chance, change, and hope.

The sculpture consists of two stepped triangular platforms that extend across Tate Modern's iconic Turbine Hall. Visitors will be able to explore underneath the platforms by wandering through the supporting scaffolding and view them from above on the Turbine Hall bridge. The platforms hold a geometric grid of 240 wooden planters filled with compost and over 23 tonnes of soil collected from parks and gardens all across London from Peckham Rye to Regent's Park.

Abraham Cruzvillegas is best known for creating sculptural works from local objects, some found, some bought. For the duration of the project, the soil will be lit by lampposts constructed by the artist using materials found in skips and building sites around Tate. Nothing has been planted by the artist, but flowers, mushrooms, and other greenery may grow depending on what seeds or bulbs have found their way into the soil. Cruzvillegas explores ideas of unpredictability and hope, inviting visitors to see the sculpture changing from one week to the next. In the middle of a busy commercial area of London, the 'empty lot' is a space where nothing is produced but where change might happen.

Many of the artist's interests are embodied in this project, from seed bombing and guerrilla gardening to ancient 'chinampas', small grids of earth used to grow corn, peppers and tomatoes in the area that later became Mexico City. The triangular shape evokes a giant compass, pointing east and west, but also recalls the strong diagonals used by Russian avant-garde artists such as El Lissitsky and the work of the visionary architect Buckminster Fuller whose geodesic dome designs comprised intersecting triangular elements.

During the 1990s and 2000s, Cruzvillegas was among the key figures of a new wave of artists in Mexico. For the past few years, he has created a body of work under the title 'Autoconstrucción' or 'self-construction', a term which usually refers to the way Mexicans of his parents' generation arriving in the capital from rural areas in the 1960s, built their own houses in stages, improvising with whatever materials they could source. Cruzvillegas was born in 1968 in Mexico City, where he continues to live and work. He is represented in several major museum collections, including Tate and MoMA, New York, and in recent years his work has been exhibited at Haus der Kunst, Munich (2014); Walker Art Center, Minneapolis (2013); and Modern Art Oxford (2011).

The Hyundai Commission: Abraham Cruzvillegas is curated by Mark Godfrey, Senior Curator, Tate Modern, with Fiontán Moran, Assistant Curator, Tate Modern.
For further information please contact Cecily Carbone or Emma Double, Tate Press Office Call +44(0)20 7887 4942/8731 or email cecily.carbone@tate.org.uk / emma.double@tate.org.uk

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Hyundai Commission 2015: Abraham Cruzvillegas: Empty Lot - Press Release | Tate

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Hyundai Commission 2015: Abraham Cruzvillegas: Empty Lot

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very interesting - this is making me consider where the boundaries between garden and allotment are. I feel like this falls almost more under the allotment. I wonder how I should incorporate this distinction, or if it even matters.

I feel like when I refer to the garden, I am speaking of a sort of practice of space/cultivation of care. so when I refer to the allotment, I refer to a garden still. I suppose allotment almost references this but in a directly communal setting?

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13 October 2015 - 3 April 2016
Turbine Hall, Tate Modern
Admission free
Open daily from 10.00 - 18.00 and until 22.00 on Friday and Saturday
For public information call +44 (0)20 7887 8888, visit tate.org.uk, follow @Tate #EmptyLot

Tate Modern today unveils the inaugural Hyundai Commission in the Turbine Hall by Abraham Cruzvillegas. The first in a new series of annual site-specific commissions by renowned international artists, Empty Lot is a large new sculpture provoking questions about the city and nature, as well as wider ideas of chance, change, and hope.

The sculpture consists of two stepped triangular platforms that extend across Tate Modern's iconic Turbine Hall. Visitors will be able to explore underneath the platforms by wandering through the supporting scaffolding and view them from above on the Turbine Hall bridge. The platforms hold a geometric grid of 240 wooden planters filled with compost and over 23 tonnes of soil collected from parks and gardens all across London from Peckham Rye to Regent's Park.

Abraham Cruzvillegas is best known for creating sculptural works from local objects, some found, some bought. For the duration of the project, the soil will be lit by lampposts constructed by the artist using materials found in skips and building sites around Tate. Nothing has been planted by the artist, but flowers, mushrooms, and other greenery may grow depending on what seeds or bulbs have found their way into the soil. Cruzvillegas explores ideas of unpredictability and hope, inviting visitors to see the sculpture changing from one week to the next. In the middle of a busy commercial area of London, the 'empty lot' is a space where nothing is produced but where change might happen.

Many of the artist's interests are embodied in this project, from seed bombing and guerrilla gardening to ancient 'chinampas', small grids of earth used to grow corn, peppers and tomatoes in the area that later became Mexico City. The triangular shape evokes a giant compass, pointing east and west, but also recalls the strong diagonals used by Russian avant-garde artists such as El Lissitsky and the work of the visionary architect Buckminster Fuller whose geodesic dome designs comprised intersecting triangular elements.

During the 1990s and 2000s, Cruzvillegas was among the key figures of a new wave of artists in Mexico. For the past few years, he has created a body of work under the title 'Autoconstrucción' or 'self-construction', a term which usually refers to the way Mexicans of his parents' generation arriving in the capital from rural areas in the 1960s, built their own houses in stages, improvising with whatever materials they could source. Cruzvillegas was born in 1968 in Mexico City, where he continues to live and work. He is represented in several major museum collections, including Tate and MoMA, New York, and in recent years his work has been exhibited at Haus der Kunst, Munich (2014); Walker Art Center, Minneapolis (2013); and Modern Art Oxford (2011).

The Hyundai Commission: Abraham Cruzvillegas is curated by Mark Godfrey, Senior Curator, Tate Modern, with Fiontán Moran, Assistant Curator, Tate Modern.
For further information please contact Cecily Carbone or Emma Double, Tate Press Office Call +44(0)20 7887 4942/8731 or email cecily.carbone@tate.org.uk / emma.double@tate.org.uk

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Hyundai Commission 2015: Abraham Cruzvillegas: Empty Lot - Press Release | Tate

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Hyundai Commission 2015: Abraham Cruzvillegas: Empty Lot

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Our Gardens Through Time show how city gardens have developed over the centuries.

From a Tudor knot garden to a modern green roof, our gardens echo changes in society and the wider world and show the fashions and innovations of the time.

Many urban homes only have a small garden, if one at all. Gardens are often multipurpose spaces for practical purposes and leisure activities.

Gardens have always been key to creating a feeling of home and connecting people to their environment.

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Gardens Through Time | Outside space | Green living | Urban gardening | Museum of the Home

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Gardens Through Time - Changing nature of urban gardens

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from the chat with suzy - I love the categorisation here, I think this would be interesting to reflect in my workshop when I refer to the garden communally. how am I distinguishing the different types of gardens ? is this an important thing to understand before or after the participants curate their garden vessels (if this is even what I want to do)

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Our Gardens Through Time show how city gardens have developed over the centuries.

From a Tudor knot garden to a modern green roof, our gardens echo changes in society and the wider world and show the fashions and innovations of the time.

Many urban homes only have a small garden, if one at all. Gardens are often multipurpose spaces for practical purposes and leisure activities.

Gardens have always been key to creating a feeling of home and connecting people to their environment.

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Gardens Through Time | Outside space | Green living | Urban gardening | Museum of the Home

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Gardens Through Time - Changing nature of urban gardens

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The Kiyosumi gardens are said to have been part of the residence of the businessman Kinokuniya Bunzaemon in the Edo period (1603-1868). In the Meiji period, the founder of Mitsubishi, Iwasaki Yataro, bought the land and remodeled the garden to entertain guests as well as for the enjoyment of his employees.
Today it is famous for its very special stones, collected from all over Japan.

Contents:

Introduction

History

Buildings

Stones and Stone

Constructions

Other Highlights

Anikas Impressions

Around Kiyosumi garden

14 pages full of information about the Kiyosumi Garden
31 pictures of the gardens
PDF 20MB
The eBook is delivered as PDF.

Feel free to pin these pictures to your Pinterest board:

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Top > Gardens Overview > Secret Gardens > Tokyo Area > Kiyosumi Teien Kiyosumi Teien（清澄庭園） The Kiyosumi gardens are said to have been part of the residence of the businessman Kinokuniya Bunzaemon in the Edo period (1603-1868).

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Hama-rikyu Gardens | Let’s go to the Gardens.

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The official home page of Tenryu-ji, a UNESCO World Heritage site

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This is the official home page of Tenryu-ji, the head temple of the Tenryu-ji branch of Zen Buddhism. Here you can find information on the temple's history, activities, sights, and special events, as well as directions on how to get here. Tenryu-ji is a major Rinzai Zen temple complex located in the scenic Saga Arashiyama area of Kyoto.

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Open

Mar - Nov　8:00a.m.-5:00p.m.

Dec - Feb　8:30.am-4:30p.m.

Admission

Adult

500yen

age 15 and under

300yen

13, Ryoanji Goryonoshitacho,
Ukyo-ku Kyoto-shi, Kyoto, 616-8001, Japan

COPYRIGHT © RYOANJI TEMPLE ALL RIGHTS RESERVED ｜ PHOTO BY KATSUHIKO MIZUNO

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大雲山　龍安寺｜Ryoanji

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Open Mar - Nov　8:00a.m.-5:00p.m. Dec - Feb　8:30.am-4:30p.m. Admission Adult 500yen age 15 and under　 300yen 13, Ryoanji Goryonoshitacho,Ukyo-ku Kyoto-shi, Kyoto, 616-8001, Japan COPYRIGHT © RYOANJI TEMPLE ALL RIGHTS RESERVED ｜ PHOTO BY KATSUHIKO MIZUNO

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The Koishikawa garden, formally called Koishikawa-kōraku-en (小石川後楽園), is a small garden jewel in Tokyo. Well preserved from the Edo period (1603-1868), it is one of the oldest gardens in Tokyo. The daimyo and son of shogun Tokugawa Ieyasu, Tokugawa Yorifusa started to build the garden in 1629, and his son Tokugawa Mitsukuni finished it in 1669 with the help of the Chinese scholar Shu Shunsui.

The garden features several scenes that represent famous Japanese and Chinese landscapes. As typical for strolling gardens, there is a pond in the middle of the garden, and a path that leads around it. The garden master designed the garden that the visitor sees a different scenery, a different view every few steps. The pond of the garden is fed by the water of the nearby Koishikawa river (Little stone river).

Especially the nearby Tokyo dome, the tower of the Bunkyo Civic Center with the sky view lounge, and the screams from the small amusement park's roller coaster make clear that this garden is a sweet little oasis in the middle of Tokyo.

Contents:

Introduction

History

Buildings

Bridges

Lanterns

Waterfalls

Stones

Highlights

Flowers

Anikas Impressions

Around Koishikawa Korakuen

23 pages full of information about the Koishikawa Korakuen Garden
56 pictures of the gardens
PDF 10MB
The eBook is delivered as PDF.

Feel free to pin these pictures to your Pinterest board:

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Koishikawa gardens - Real Japanese Gardens

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Top > Gardens Overview > Famous Gardens > Tokyo Area > Koishikawa gardens Koishikawa Korakuen（小石川後楽園） The Koishikawa garden, formally called Koishikawa-kōraku-en (小石川後楽園), is a small garden jewel in Tokyo. Well preserved from the Edo period (1603-1868), it is one of the oldest gardens in Tokyo.

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Daitoku-ji - A Zen temple village in Kyoto

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Daitoku-ji is a temple complex of Zen Buddhism Rinzai school located in the northwest of Kyoto, Japan. It is made of about twenty temples, four of which are open to the public. Visitors can enjoy the different kinds…

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Saihoji Temple
- The Garden of Origins and Journeys

As you quiet your mind and enter into a state of harmony in the garden, you can re-discover and return to your original self, reflect on the past and begin on a new path. Saihoji Temple is the garden of origins, and new journeys.

As it approaches the 1,300th anniversary of its founding, Saihoji Temple strives to be a place where you can return to your true self in quiet and commence the journey that will bring you to the next stage of your life - empowering you to be more creative, to be inspired and to return to your life feeling completely and re-tuned and ready for a fresh start in your life.

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The official website of Saihoji Rinzai Zen Temple, which is registered as a World Heritage site. The Garden of Origins and Journeys. Visits to the temple must be reserved in advance.

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UEYAKATO Landscape [Japanese garden company in Kyoto]

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Nanzen-ji Temple was originally built in the late thirteenth century as the imperial villa of Cloistered Emperor Kameyama. In 1291, however, he converted it into a Zen temple and installed a Zen master by the name of Mukan as its head abbot. Emperor Kameyama is said to have converted to Zen Buddhism after Mukan was able to quell a series of ghostly happenings that had occurred at the villa.

Nanzen-ji Temple later reached the zenith of its influence when it and was ranked above medieval Kyoto's "Five Temple" (gozan) hierarchy of Zen monasteries established to strengthen Zen's ties to the Japanese state. Despite being devastated during Japan's period of civil war during the fifteenth and sixteenth centuries, Nanzen-ji Temple was later restored during the Edo period by Ishin Suden, the temple's 270th head monk. It was then that edifices such as the current Sanmon Gate and the large and small abbot halls (Ōhōjō and Kohōjō) were reconstructed on its 660,000m² grounds. This was also the time when famous gardens were built in front of the temple's large abbott hall and at the Konchi-in sub-temple where Ishin Suden himself lived.

During the Edo period, Nanzen-ji Temple created many sub-temples and became well-known not only as the head temple of a Zen Buddhist sect, but also as a place of scenic beauty. Historical pictures show that many people visited Nanzen-ji Temple during this period. These pictures show crowds of people not only on the temple's grounds and inside its gardens, but also in front of the Sanmon Gate. The temple also became the subject of many poems. In the Confucian scholar and poet Rai Sanyō's poem "An Excursion to Nanzen-ji Temple," there are descriptions that call to mind the scenery of olden times through their descriptions of the pine trees around Nanzen-ji Temple's main entrance path and on the Higashiyama mountains in the background.

During the Meiji period, land confiscated by the government resulted in Nanzen-ji temple's holdings being reduced to 198,000m², 1/3 of what it once was. Its 25 sub-temples were also reduced to only twelve. However, many of its buildings, including the Sanmon Gate, still exist today. The entirety of Nanzen-ji's temple grounds has been designated a national Cultural Property.

As you enter the grounds of Nanzen-ji Temple, the first thing you see is the Sanmon Gate, which has been designated an Important Cultural Property of Japan. In Japanese, Sanmon means "three gates,"" a reference to the three gates of emptiness, formlessness and nonconstructedness that lead to enlightenment in Buddhist monastic training. From a religious viewpoint, then, it is an important structure that divides the sacred realm of the temple from the secular world. At the same time, however, Sanmon has long been widely regarded as a popular landmark, as illustrated by the famous line "What a superb view!" spoken by the bandit Ishikawa Goemon in the kabuki play ""The Temple Gate and the Paulownia Crest"" (Sanmon Gosan-no-Kiri).

Walking along the main entrance path into the main temple, one encounters a brick structure to the right; this is the aqueduct of the Lake Biwa Canal that was constructed through the temple grounds during the Meiji Period. This aqueduct has been designated one of Kyoto's Civil Engineering Heritage Sites.

On the premises, not only are there pine trees planted that in an earlier time were the theme of poetry, but also cherry blossoms and maple trees, so that there are flowers, fresh greenery and autumn colors that can be enjoyed according to the season. Also, in addition to the Nanzen-in, Hojo, and Konchi-in Gardens, each of which have been designated Places of Scenic Beauty, there are many other gardens that have been created on the grounds of Nanzen-ji Temple's many sub-temples. Of these, it is possible to see the gardens at Nanzen-in, Konchi-in, and Tenju-an.

For information about each of the gardens in the main temple, including the famous Hojo Garden, please visit their individual pages below.

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Nanzen-ji Temple | Gardens | UEYAKATO Landscape [Japanese garden company in Kyoto]

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Ueyakato Landscape is a long-established garden company in Kyoto, taking care of Japanese gardens with finest Takumi skills and Japanese aesthetic senses.

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STYLE

With 58.3 ha(144 acres) in size and a circumference of 3.5 km, Shinjuku Gyoen, the representative modern western-style garden in Meiji era, blends three distinct styles, French Formal Garden, English Landscape Garden and Japanese Traditional Garden.
The garden was designed by French Landscaping designer and is considered to be one of the most important gardens from the Meiji era.

HISTORICAL SITES

There are historical buildings that retain the history of the imperial gardens, such as the club house's former Western-style rest station, which was built in the Meiji era, and the former Goryotei Pavillion, which was presented as a memorial for the Emperor Hirohito.

EAT & SHOP

Restaurants and cafes where you can enjoy seasonal views offer original lunches and sweets menus. The shop at resthouse has Shinjuku Gyoen original goods, souvenirs, soft ice cream and drinks. You can enjoy matcha tea at the tea room in the Japanese garden.

EVENTS

There are various events that are related to the nature and history of Shinjuku Gyoen throughout the year, such as the special exhibition of cherry blossoms in spring, the chrysanthemum exhibition and orchid exhibition, Noh perfomance and a photo contest.

FOUR SEASONS

Shinjuku Gyoen is an oasis in the heart of the city, where you can enjoy the seasonally varied atmosphere and rich nature, such as cherry blossoms in the spring, greenery in summer, autumn chrysanthemum flower exhibition and autumn leaves, greenhouse in winter and snow scene.

GREENHOUSE

In the oldest Western-style greenhouse built in the nineteenth century, where we grow tropical and subtropical plants, including orchids, and played a pioneering role in Japanese greenhouse horticulture. Rebuilt in 2012, it became an environmentally conservation greenhouse for preserving and displaying endangered species.

Period

Opening Hours

Closing Time

Greenhouse Opening Hours

Oct.1 to Mar.14

9: 00AM ~ 4: 00PM

4: 30PM

9: 30AM ~ 3: 30PM

Mar.15 to Jun.30
Aug.21 to Sep.30

9: 00AM ~ 5: 30PM

6: 00PM

9: 30AM ~ 5: 00PM

Jul.1 to Aug.20

9: 00AM ~ 6: 30PM

7: 00PM

9: 30AM ~ 6: 00PM

EARLY OPENING of Shinjuku Gyoen National Garden From AUG. 29, 2020 to MAR. 19, 2021: OPEN at 7:00 am on opening days of the garden
ENTRY: SHINJUKU GATE ONLY(from 7:00 am to 9:00 am) After 9:00 am: ALL GATES Information Center, Restaurant, Café, and kiosks open at 9:00 am (Greenhouse: 9:30 am) Admission Fee: As Usual
*Visitors can enter with the annual passport (CANNOT BE ISSUED from 7:00 am to 9:00 am)

Closed

Mondays (If Monday is a national holiday, closed on the next weekday)
Year-end & New-year days (Dec.29 to Jan.3)

Special Open Period (Open 7 days a week during the period)

Spring Mar.25 to Apr.24, Autumn Nov.1 to 15

Entrance Fee (cash only)

Adults

Seniors(Over 65 years old)

Students

Children(Junior high school students / 15 and under)

General

500yen

250yen *2

250yen *3

FREE

Groups(30 people or more)

400yen *1

250yen *2

250yen *3

FREE

*1　Group discount applies to a party of 30 people or more. No Reservation is necessary.
*2　Valid ID required. Please purchase a ticket at a ticket window.
*3　Valid Student ID required. Please purchase a ticket at a ticket window.
・Assistance dogs are also allowed to enter with visitors such as guide-dogs, service dogs and hearing assistance dogs.
[Annual Passport]
Adult 2000yen, High school student 1000yen
Reception opening hours and locations　9:00AM to 1 hour before closing time in opening days(Depends on the season)
The passport will not be issued on free admission days.

Rules

The Ministry of Environment Shinjuku Gyoen Office HP Link

The National Gardens Association Shinjuku Gyoen National Garden
11 Naito-machi, Shinjuku-ku, Tokyo 160-0014, Japan
〔Call〕+81-(0)3-3341-1461
〔Email〕info-shinjuku@fng.or.jp

Shinjuku Gyoen National Garden visitor information
〔Call〕+81-(0)3-3350-0151

Mistake calls are increasing. Please check the phone number carefully and make sure there are no mistakes.

Google map

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Shinjuku Gyoen National Garden : 新宿御苑 | 一般財団法人国民公園協会

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一般財団法人国民公園協会新宿御苑は、環境省からの委託を受け、新宿御苑の維持管理事業を実施し、環境保全と利用者サービスの充実に取り組んでいます。

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In Teaching to Transgress, bell hooks-writer, teacher, and insurgent black intellectual-writes about a new kind of education, education as the practice of freedom. Teaching students to "transgress" against racial, sexual, and class boundaries in order to achieve the gift of freedom is, for hooks, the teacher's most important goal.

bell hooks speaks to the heart of education today: how can we rethink teaching practices in the age of multiculturalism? What do we do about teachers who do not want to teach, and students who do not want to learn? How should we deal with racism and sexism in the classroom?

Full of passion and politics, Teaching to Transgress combines a practical knowledge of the classroom with a deeply felt connection to the world of emotions and feelings. This is the rare book about teachers and students that dares to raise critical questions about eras and rage, grief and reconciliation, and the future of teaching itself. "To educate as the practice of freedom", writes bell hooks, "is a way of teaching that anyone can learn." Teaching to Transgress is the record of one gifted teacher's struggle to make classrooms work.

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In Teaching to Transgress, bell hooks-writer, teacher, and insurgent black intellectual-writes about a new kind of education, education as the practice of freedom. Teaching students to "transgress" against racial, sexual, and class boundaries in order to achieve the gift of freedom is, for hooks, the teacher's most important goal.

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History of Fine Ceramics | Introduction to Fine Ceramics | Fine Ceramics World | Kyocera

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Fine Ceramics (also known as "advanced ceramics") are used to make components that require high levels of performance and reliability, such as advanced semiconductor packages and automotive engine parts. In fact, Fine Ceramics support the latest technologies in diverse applications throughout modern society. Do you know the history of Fine Ceramics? They share common origins with the conventional ceramics that we use every day, like tableware, vases, pottery and other household items.
The history of ceramics begins with earthenware. Thousands of years ago, humans learned how to make earthenware vessels by kneading, forming and firing clay. Prior to this discovery, the only other man-made items were stone tools made by chipping rocks. In this sense, earthenware could be called "the root of all industrial products." After the Stone Age, countless advancements were made over the millennia before Fine Ceramics appeared as we know them today.

History of Pottery in Japan

The history of pottery in Japan dates back over 10,000 years ago to the Jomon period (14,000 - 400 B.C.). The Jomon people, a society of hunters, were among the first in the world to create pottery vessels. Their earthenware is characterized by a distinctive rope-like pattern. Japan's subsequent Yayoi period (500 B.C. - 300 A.D.) brought the advent of rice cultivation, along with "Yayoi ware" pottery in various shapes. The Yayoi fired clay vessels surrounded by piled wood at temperatures ranging from 600 to 800℃ (1,112 - 1,472℉). This method is called Noyaki, or "open-firing."
About 1,500 years ago, a new firing method using a tunneled, sloping kiln (Anagama) was introduced from Korea. In this method, clay shaped on a potter's wheel was fired at temperatures of over 1,000℃ (1,832℉) for extended periods. Vessels made using this method are called "Sue ware."
With the introduction of the potter's wheel and Anagama, ceramic technology in Japan was drastically improved. Because of these advancements, hard, well-shaped ceramics became producible in large volumes. In later years, Anagama was further developed into Noborigama, a climbing kiln, which was able to fire many items at the same time.
In the Nara period (710 - 794), people started to use glaze made from vitreous powders. The glazing and firing of biscuit ceramics resulted in bright and soft-colored vessels that also prevented water leakage.
Porcelain was introduced from Korea during the Azuchi Momoyama period (1568 - 1603). Porcelain is a dense ceramic made by firing combinations of clay and feldspar.

Jomon Ware Deep Bowl
(Middle Period)

Yayoi Ware Deep Bowl

Sue Ware Pot with Handles

Seiji Flower Container

Kyoto Ware Incense Burner with Multicolored Overglaze Paintings
(Edo Period)

Ceramics in the Era of Electrical Technology

Moving forward several centuries, Japanese pottery culture began to experience a period of rapid development.
In the 19th century, with the invention of the electric light by Thomas Alva Edison and the telephone by Alexander Graham Bell, a new era which could be referred to as the "era of electricity" began. Ceramics, previously used only as vessels, started to play entirely new roles suited to this new era.
In general, ceramics do not conduct electricity. Compared to other insulators, such as paper and wood, ceramics are less affected by environmental factors such as temperature and humidity, giving ceramic components higher reliability. Through the history of ceramics going back more than 10,000 years, we have learned modeling technology to produce ceramic products in a myriad of shapes. Ceramics have thus come into widespread use as insulators or as insulating materials in areas ranging from power lines to household products, and have become important materials that allow people to use electricity easily.

The Era of Electro-Ceramics

The 20th century brought the advent of electronics, with the start of radio and television broadcasts and the invention of the transistor. This era was facilitated by ceramics from the beginning, when large vacuum tubes of the early 20th century relied on ceramic materials. Within wireless equipment, only ceramics possessed the properties necessary to provide high signal output even over high frequency ranges. Ceramics could not be replaced with other materials.
Ceramics have benefited from significant advances in material composition as well. In addition to natural raw materials, artificially synthesized raw materials are now commonplace. Metallization and other technologies to permit stronger ceramic-to-metal bonding were developed. During this period, ceramics rapidly grew closer to today's Fine Ceramics.
Semiconductors, the core component of the electronics era, have also been supported by ceramics. Transistors and integrated circuits (ICs) were developed in U.S. laboratories shortly after the Second World War. However, because they were extremely sensitive to external moisture and strong light, these early transistors and ICs were not immediately available for practical use. Fortunately, ceramic packages were able to shut out external moisture and light while maintaining the electrical performance of transistors and ICs. It is no exaggeration to say that the semiconductor revolution was launched in these packages.
In addition, ceramics have helped to reduce the size of capacitors and inductors in electronics. Since the middle of the 20th century, ceramics have undergone a continual evolution, and now possess excellent dielectric and magnetic properties. As a result, electronic components were miniaturized and made highly functional. Ceramics thus made a significant contribution to the downsizing of electronic equipment. If capacitors had not been made of ceramics, the portable electronic devices we depend on every day, such as pocket-sized smartphones and laptop computers, would never have appeared. In fact, a modern smartphone uses more than 600 ceramic capacitors. Fine Ceramics were born in this era as highly precise industrial materials made through tightly controlled processes from refined or synthetic raw powders, thus differentiating them from all conventionally fired products.

Fine Ceramics as the New Material "Standard-Bearer"

Fine Ceramics can be made to possess a wide variety of unique characteristics through variations in raw materials, synthesizing methods and production processes. Consequently, they have become the standard for new materials in countless fields of advanced technology. Because of their light weight, rigidity, physical stability and chemical resistance, large ceramic components several meters in size are now used in equipment for manufacturing semiconductors and liquid crystal displays. In addition, their high reliability and successful integration with metals allows them to be used in a growing range of automotive components.
With their dielectric and piezoelectric properties, Fine Ceramics serve as base materials for many essential electronic components, including compact, highly efficient capacitors, filters, and resonators. They perform key roles in various other industries as well. For example, their chemical inertness is very useful in the heavy chemical industry, while their abrasion resistance is valued in textile manufacturing. Beyond industrial applications, Fine Ceramics are increasingly used in the everyday goods we depend on, such as knives, pens, jewelry, decorative items and even medical and dental implants - all of which make use of the unique material characteristics of Fine Ceramics.

The term "Fine Ceramics" is interchangeable with "advanced ceramics," "technical ceramics" and "engineered ceramics." Use varies by region and industry.

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History of Fine Ceramics | Introduction to Fine Ceramics | Fine Ceramics World | Kyocera

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Here we introduce the history of Fine Ceramics. The roots of Fine Ceramics trace back to ceramic products such as tea cups and containers used in everyday life.

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Art methodology refers to a studied and constantly reassessed, questioned method within the arts, as opposed to a method merely applied (without thought). This process of studying the method and reassessing its effectiveness allows art to move on and change. It is not the thing itself but it is an essential part of the process.

An artist drawing, for instance, may choose to draw from what he or she observes in front of them, or from what they imagine or from what they already know about the subject. These 3 methods will, very probably, produce 3 very different pictures. A careful methodology would include examination of the materials and tools used and how a different type of canvas/brush/paper/pencil/rag/camera/chisel etc. would produce a different effect. The artist may also look at various effects achieved by starting in one part of a canvas first, or by working over the whole surface equally. An author may experiment with stream of consciousness writing, as opposed to naturalistic narrative, or a combination of styles.

In stark contrast to fine art practice is the traditional craft form. With traditional crafts, the method is handed down from generation to generation with often very little change in techniques. It is usually fair to say that folk crafts employ a method but not an art methodology, since that would involve rigorous questioning and criticising of the tradition.

An art methodology differs from a science methodology, perhaps mainly insofar as the artist is not always after the same goal as the scientist. In art it is not necessarily all about establishing the exact truth so much as making the most effective form ( painting, drawing, poem, novel, performance, sculpture, video, etc.) through which ideas, feelings, perceptions can be communicated to a public. With this purpose in mind, some artists will exhibit preliminary sketches and notes which were part of the process leading to the creation of a work. Sometimes, in Conceptual art, the preliminary process is the only part of the work which is exhibited, with no visible end result displayed. In such a case the is being presented as more important than the destination. Conceptual artist Robert Barry once put on an exhibition where the door of the gallery remained shut and a sign on the door informed visitors that the gallery would be closed for the exhibition. These kind of works question accepted concepts, such as that of having a tangible work of art as end result.

Global Responsibility

The Peace Through Art methodology developed by the International Child Art Foundation (ICAF) was recognized as a Stockholm Challenge Finalist for 's statement on the methodology of the programme says: "the Peace Through Art methodology draws upon the creativity and imagination of young people, and teaches them the ethics of responsibility in this interdependent global village that has come to be our world. The methodology incorporates best practices from the fields of psychology, conflict resolution and peace education, while employing the power of the arts for self-expression, healing and communication."

Pauline Mottram SRAsTh, gave a short paper entitled "Towards developing a methodology to evaluate outcomes of Art Therapy in Adult Mental Illness." for the October 2000 TAoAT Conference. Here's an excerpt:

"In addressing the effectiveness challenge and in seeking a means of measuring outcomes of the art therapy service that I deliver, I have sought a methodology that can provide a valid and reliable quantitative outcome, whilst still respecting the aesthetic and humanistic nature of art therapy practice. This endeavour is made all the more complex by the fact that art therapy lacks a fully developed theory and it has a fragile research base. Generally it is argued that art therapy is more compatible with qualitative research designs that encompass subjectivity, rather than quantitative objective methods. Kaplan (1998, p95) states that 'Qualitative is exploratory and theory building. Quantitative tests hypothesis in order to refine and validate theory.' She holds that art therapy cannot afford to reject either form of inquiry."

Generative Art

In "The Methodology of Generative Art" by Tjark Ihmels and Julia Riedel, an online article at Media Art Net Mozart's "musical game of dice" is cited as a precedent for the methodology of Generative art which, say the authors, has "established itself in nearly every area of artistic practice (music, literature [3], the fine arts).":

"Mozart composed 176 bars of music, from which sixteen were chosen from a list using dice, which then produced a new piece when performed on a piano. Sixteen bars, each with eleven possibilities, can result in 1,116 unique pieces of music. Using this historical example, the methodology of generative art can be appropriately described as the rigorous application of predefined principles of action for the intentional exclusion of, or substitution for, individual aesthetical decisions that sets in motion the generation of new artistic content out of material provided for that purpose."

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Art methodology refers to a studied and constantly reassessed, questioned method within the arts, as opposed to a method merely applied (without thought). This process of studying the method and reassessing its effectiveness allows art to move on and change. It is not the thing itself but it is an essential part of the process.

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blog | 03 Feb 2022

With growing evidence that the pandemic has widened pre-existing inequalities, there is a critical need to radically rethink the way in which support is offered, particularly for marginalised individuals and communities.

Most resources in the current system are invested in supporting people in crisis. People's distress is sometimes left to spiral without support, and then treated as a problem to be 'fixed' by professionals. We very often undermine the role that people and communities can play in their own wellbeing.

What would it mean to highlight Radical Caring as central to the wellbeing of individuals, communities, systems and the planet? And what would it take to grow a new type of leadership, resourcing people who are often shut out from power?

We want to turn power on its head by growing the capacity of communities to care for their own and each other's mental health and allowing them to invite in professional expertise on their terms.

Making the case for caring

In a society that profits from our self-doubt, liking yourself is a Radical Act.

Who we are and how we express ourselves can be met with hostility or rejection, which we often internalise as anxiety or shame. We might be at higher risk of unfair treatment based on our identity, beliefs, social class, and in some cases a combination of these.

Wholeheartedly endorsing all parts of ourselves just as we are, including strong and difficult emotions, helps us to hold difficult experiences and mental distress- for ourselves and for others.

What is Radical Caring?

Radical Self Care (RadSec) is an approach for improving wellbeing by supporting people to strengthen our inner capacities for present moment awareness, caring and self-compassion. The 'Radical' in this model refers to our human 'birthright', to exist as we are, with all aspects of our intersectional identities.

RadSec, developed by Mind in City, Hackney & Waltham Forest (CHWF) and Mind in Salford, draws on the evidence-based research and practice by Professor Paul Gilbert in the Compassion Focused Therapy approach. Specifically the model of three flows of compassion and care - from self to self, others to self, and self to others. These flows, and the first two in particular, are often underdeveloped and blocked especially for people with experience of trauma. We see an opportunity to create a societal shift towards caring as a foundation for transforming our relationship with ourselves, with each other and with the planet.

The RadSec training model has been proven effective in reducing anxiety, depression, harsh self-criticism and shame in a Randomised Controlled Trial run by the City University of London, Centre for Psychological Wellbeing and Neuroscience between 2019-2020.

RadSec has been led by practitioners from diverse backgrounds and intersecting identities, including people who experience discrimination based on their race, sexuality and gender identity. The model is informed from their perspectives and serves people from across society. RadSec values and invests in lived experience leadership in the same way society often does for professional leadership.

What are we setting out to do, and what do we want to achieve?

The Thrive LDN, Mind in CHWF and Innovation Unit partnership sets out to test what it takes to grow cultures of Radical Caring in organisational and community settings, working with community and grassroots projects across London who are supporting people experiencing higher levels of inequality.

In 2022, over the course of 8 workshops exploring our relationship to self and to others, and a series of action learning sets, a group of 30 representatives from grassroots projects and organisations will work with Radical Self-Care (RadSec) practitioners and Innovation Unit to grow and embed the principles of Radical Caring within their organisations and wider context.

We aspire to be system thinkers in action. This work begins with resourcing communities and individuals, using personal transformations (to self and to others) as a basis for exploring what Radical Caring could mean in the context of organisations and systems.

We are interested in the ripple effects of Radical Self-Care and will be helping participants consider what it would mean to bring Radical Caring to their organisations and communities.

We hope this project is the first step in a wider and deeper exploration of the potential of Radical Caring to transform ourselves and our society. We hope to continue working together to encourage further conversation and action. We are also looking for other partners to join us to explore what a Radically Caring health care system, economy, politics, education and justice system would look like.

In this work we hope to build caring as a foundation for sharing power, and nurturing a new, more inclusive movement for better mental health.
We as a collective of caring folk plan to continue this work that we have embarked upon with the view of collaborating and discovering what might be.

How can I learn more and get involved?

The Radical Self Care workshops will start in February 2022. If you are interested in taking part, or want to explore opportunities to join us as a partner please contact righttothrive@thriveldn.co.uk / daisy.carter@innovationunit.org.

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Growing cultures of Radical Caring - Innovation Unit

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Most resources in the current system are invested in supporting people in crisis. People's distress is sometimes left to spiral without support, and then treated as a problem to be 'fixed' by professionals. We very often undermine the role that people and communities can play in their own wellbeing.

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BUILDING AN ILLUSTRATION PORTFOLIO — Rebecca Green Illustration

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T oday’s post is all about building a portfolio, and it’s a timely one for me. Even though I’ve had a working portfolio for over a decade, I’m in the middle of a career shift so I’m currently doing all the things I’m sharing with you today - planning, building, editing and soon, presenting. Whether

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these are sooo cute I love the colouring and soft textures on them. its like a little drawing of a garden itself!

I want to be able to approach drawing gardens in a more immersed manner, like drawing gardens from memory or actually in situ. I think this would be really great for me to engage with and could allow for some intuitively made artworks I could then demonstrate in my ceramics/riso practices

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Have you ever relied on the kindness of strangers? What brings people together to find hope and solidarity? What do we owe each other as citizens and comrades?
Questions of care, intimacy, education, meaningful work, and social engagement lie at the core of our ability to understand the world and its possibilities for human flourishing. In Lean On Me feminist thinker Lynne Segal goes in search of hope in her own life and in the world around her. She finds it entwined in our intimate commitments to each other and our shared collective endeavours.

Segal calls this shared dependence 'radical care'. In recounting from her own life the moments of motherhood, and of being on the front line of second-wave feminism, she draws upon lessons from more than half a century of engagement in left feminist politics, with its underlying commitment to building a more egalitarian and nurturing world. The personal and the political combine in this rallying cry to transform radically how we approach education, motherhood, and our everyday vulnerabilities of disability, ageing, and enhanced needs.

Only by confronting head-on these different forms of interdependence and care can we change the way we think about the environment and learn to struggle - together -against impending climate catastrophe.

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Have you ever relied on the kindness of strangers? What brings people together to find hope and solidarity? What do we owe each other as citizens and comrades?Questions of care, intimacy, education, meaningful work, and social engagement lie at the core of our ability to understand the world and its possibilities for human flourishing.

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Japanese kawaii idol music culture news | Tokyo Girls Update

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The Magazine "Olive" Made Japanese Girls Aware of The Rare Value of Girlhood and Maidenhood : The "Kawaii 2.0" Theory vol.6

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On the subject of Japanese magazine culture and girls' culture, there's one magazine that can't be o...

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Not only one of the 20th century's most significant designers, Mari was also an artist, teacher, theorist, and more. During his prolific career, he created countless enduring and timeless designs, filling the homes and streets of the Milanese and beyond. An outspoken critic of the design industry, his uncompromising belief in the social responsibility of design resonates powerfully today, as we face ecological and ethical issues with ever greater urgency.

This unmissable retrospective which debuted at Triennale Milano in 2020, will span Mari's 60-year career and bring together hundreds of his projects, ranging from furniture, children's books and games, product and graphic design, to more conceptual installation-based works. Archival material will provide greater insight into Mari's research process, and the key principles that guided and unified his work.

Alongside this exhibition, the museum will also host a related free display featuring a number of commissioned tributes from contemporary international artists and designers in celebration of Mari's extraordinary life and legacy, to be on shown on the first floor's balcony.

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Curated by Hans Ulrich Obrist with Francesca Giacomelli. The major exhibition will celebrate the life and work of one of the greatest Italian designers of the 20th century, Enzo Mari, whose designs have inspired generations of creatives around the world.

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teaching people how to use the risograph

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teaching people how to use the risograph

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before engaging with running a workshop on teaching the riso, I wanted to see if I could help walk people through using it themselves.

I helped a few friends individually with using the riso. I did this all with their own work as then it was helpful for them and also approachable. I found it hard at first - I feel like riso is easy to get your head around but walking people through the steps to print it is kind of hard as there are so many buttons to click, I can tell that it doesn't sit in peoples heads and they get a bit distracted. I also forget how daunting the machine looks at first - I remember when someone asked dot me change a drum for the first time I nearly wet myself hahaha, it feels so intimidating. seeing other people express their nerves around the machine is sweet as I reminds me about how far ive come!

overall, when I got to gizem's turn with the magazine cover, I felt pretty confident in the flow of understanding when someone needed help ir not and how I could approach them while allowing them space to just learn and explore. I feel like I am confident to apply this to my workshop, and now I understand that I do want to develop it aorund the use of colour as I feel like this is something approachable in a variety of different dynamics and skills

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I had made these ceramics with the intention of using them for my workshop, as the garden vessels I will refer to that participants will draw in. I had designed them to be very simple - lumpy bumpy hand built pieces glazed in one vibrant colour so that people could explore form and tone in simple ways. however, someone had recommended I put a top glaze over them and I must have used the wrong one because now they have turned our all bizarre and evil looking! my friend says this could be from the glaze being a different type to use for the firing temperature I put them at. I was relatively annoyed at first but I can understand and articulate now that they are not a pivotal part to the workshop, and actually I think I am taking away from the whole aspect of the workshop being about gardens and the analysis of garden spaces.

I have decided that from my own methods of time management, I will not continue to work in ceramics for the workshop. I am now aware that this was not the best concept for the workshop and perhaps this fault has led to better design choices. I also want to make sure I don't lose focus on my independent project aims, so I hope to continue on the trajectory that I am on with my risography and not lose focus by distracting myself with minor details. I feel like this reflects a deep professional work method, and I have been able to demonstrate strict and flexible problem solving skills and priority analysis through this creative challenge.

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I feel like something I have been stressing about throughout this unit is the slight staggering of what I am doing, in terms of not constantly and regimentally grounding my work back into something. I feel like I have anchored my enquiry deeply into gardens and care, and have learnt that the work from my last unit works as a method of response to the environments I have made artwork from, however I feel like its been slightly uncomfortable (but exciting too!) to have made this project as reactions to an adapting idea.

while the last unit felt very grounded and fluid in the way I approached each week, this one has felt more like an ever-changing, thrilling response to what I had learnt. and with saying this, I have never felt so free to explore making and have never engaged with practical work so constantly. from the very beginning I have been creating artwork, and I have been drawing constantly in response to the environments I am doing my learning from. my visual practice has transformed in response to this new liberty and autonomy in making, and I feel so much more confident than ever before about becoming a professional with an established visual practice. I am so proud of the work I have been able to create through this unit. in reflecting on my earlier anxieties here, I can see that the worries I have only reflect the lack of strict grounding into criticality that I had in the last unit. the progression of the two has allowed me to develop a method of making that is heavily critically engaged, and I am now able to process complex enquiries through theoretical knowledges, as well as analyse and synthesise these through my illustration and broader creative practice.

on top of this all, I now can leave uni with a methodology off making, and can confidently practice using a riso machine. I can create work through the riso machine, but can also create work that is a response to how riso works, and is made purely to be created through riso through my understanding and education in riso.

I feel incredibly confident with the body of work I have developed this year, and I am excited to see what I will be doing with it all.

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so far, I have spent around £180 on my riso project so far - that includes the 100 sheets of shiro paper that I have used, and the 56 masters that have made up the designs I have made/will be making. I am in the process of developing a book, which I know will have a lot of masters considering the four colour process I want it to follow. I feel like I am keeping in my budget really well and have still had the chance to experiment freely.

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now that I know I want to dedicate my work in the rest of this unit to creating risography, I want to be able to budget properly in order to accommodate the work I want to fulfil properly and realistically, without any added last minute stresses.

I have decided to set aside a pretty massive amount of money for myself to finish this unit. im taking into consideration the amount I spent the last unit regarding the masters and paper that I used, and want to allow for a sort of contingency that can accommodate pure experimenting. I also want to create multiple copies of my work to allow for enough mistakes to be made during printing, particularly if I am creating more complex artworks that require more intricacy during the printing process. I know that one master costs something between , and that the paper is significantly less (though I am still not sure as to how much, Lars can be so vague!). with all of this in mind, I decided to set aside £300 to cover the cost off printing with plenty of room for me to play. this is an incredibly steep amount for me, but I know that I will only really get to do this one time, and it will act as an investment into my professional practice. on top of this, riso will not be any cheaper than this anywhere else, so I know I should take advantage of the resources I have here. on top of this all, it would be good to get the professional advice of lars while I print and have him walk me through more complex aspects of risography in order to help me get a better, deeper grasp of riso and make it a more intuitive methodology in my illustration practice.

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between tattooing and illustration - community

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between tattooing and illustration - community

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I think its interesting to consider a workshop that is based around communal learning and reciprocity, and the practice of tattooing and giving/receiving trust between client and artist.

I feel like what I enjoy most about creativity is the engagement with the world around me - in saying this, there is even more intrigue to what I enjoy as I have focused so much on gardens recently. I really have this fascination for exploring the world external to me, and how I can engage with it. what makes it safe? and why are things the way they are (what dynamics uphold this, that, etc.)?

and with this is people, seeing people engage with my work or through my work, what is created from a workshop that allows people to foster a sense of community? how can I pull criticality from the garden into a reciprocal act of learning and caring?

likewise, what have I learnt from tattooing that I can bring into the workshop? this is such a unique thing for me to be able to contextualise my workshop around too. the trust belt in tattooing is something so unique - the temporality of the piece, the vulnerability of the sessions, the intuition to the clients needs that I have to take on - I have to understand that no two people I will tattoo will be the same, every session is built up of a variety of responses to what is happening and I need to be attentive to everything happening between us for the tattoo to be done properly, and for the client to be as comfortable as possible.

I believe strongly gly in creating sessions that act as a part of the tattoo itself - I want my clients to be comfortable and happy in whatever dynamic this may look like (without compromising the safety of them/the tattoo). their tattoo is on them forever, and they will remember the session with that. in the same sense, I want to develop. workshop that teaches but also acts as a space in time that resonates softly with the participants. the garden is almost a space of atemporality - time is crucial to the description of the garden, and stands for the garden as a whole experience as it is an ever changing space (even if maintained the same)

comparing these different dynamics in my practice to each other grounds me into the one topic I spoke of before entering this unit - care. I am reminded of the reciprocity that beckons all these topics together, both within themselves and between each other. care deeply informs my approach to tattooing, and care is what brings me into the world around me - how I want to study it and discover it. care is what anchors my visual practice to my engagement with the world. and to me, a garden is about care. it is how we care, and how nature cares (a wish for the future, an act of hope!). it is built off of the reciprocity of every element and thing within it. care is the culmination of everything I am interested in - I want to watch how things behave with each other and how they bring life to each other. this is so cheesy! but I can articulate exactly how all these elements that are informed by my creativity are balanced through. and so, a workshop makes sense for pulling my work together for this unit. a workshop represents all these elements