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Anthony Howe & Iris van Herpen
Dynamic sculpture

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just for fun - a reintepretation of two masterpieces

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woman in bottle

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https://www.moma.org/calendar/exhibitions/5225

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Adam Pendleton: Who Is Queen? transforms MoMA's Marron Family Atrium into a dynamic arena exploring Blackness, abstraction, and the avant-garde. In his monumental floor-to-ceiling installation, Adam Pendleton has created a spatial collage of text, image, and sound-a total work of art for the 21st century.

Who Is Queen? is anchored by three five-story black scaffold towers that resemble the balloon framing typical of American homes and that serve as supports for paintings, drawings, a textile work, sculptures, moving images, and a sound piece. In the paintings, Pendleton creates layered fields of unresolved text and gestural marks, built up from spray-painted and brushed originals that have been photographed, photocopied, and enlarged for screenprinting. The drawings feature sketches and visual "notes," and, at times, reproductions from the artist's library of books. Pendleton's visual language challenges legibility, continuously writing and overwriting itself.

Pendleton's latest video portrait, So We Moved: A Portrait of Jack Halberstam screens at 12:30 and 4:30 p.m. daily, alternating with two moving-image works that function as notes on the embattled Robert E. Lee monument in Richmond, Virginia, and Resurrection City, a 1968 ad-hoc city set up on the national mall in Washington, DC. Resurrection City has played an influential role in Pendleton's wider investigation of alternative structures and social formations. Finally, a sound collage anchored by a reading by the poet Amiri Baraka, a recording by composer Hahn Rowe, and a recording of a Black Lives Matter demonstration in Manhattan is interwoven with musical fragments from a range of composers and musicians. Dialogues organized by Pendleton featuring pairs of artists, writers, and thinkers will be released online monthly, and incorporated into the sound installation, which shifts and changes over the course of the exhibition.

Challenging the traditional role of the museum as a repository for a fixed history, Who Is Queen? collages multiple voices and cultural touch points to generate new relationships between traditionally incommensurable subjects. As the artist states, the work "is not black or white. It articulates the ways in which we simultaneously possess and are possessed by contradictory ideals and ideas."

Download a PDF with the full list of collaborators and contributors for Who Is Queen?.

Organized by Stuart Comer, The Lonti Ebers Chief Curator, with Danielle A. Jackson, former Curatorial Assistant, and Gee Wesley, Curatorial Assistant, with the support of Veronika Molnar, Intern, Department of Media and Performance.

The audio series for Adam Pendleton: Who Is Queen? is produced for MoMA by Lizzie Gorfaine, Producer, and Kate Scherer, Manager, with the support of Olivia Rousey, Intern, Performance and Live Programs

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Exhibition. Through Jan 30, 2022. Adam Pendleton: Who Is Queen? transforms MoMA's Marron Family Atrium into a dynamic arena exploring Blackness, abstraction, and the avant-garde. In his monumental floor-to-ceiling installation, Adam Pendleton has created a spatial collage of text, image, and sound-a total work of art for the 21st century.

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Award winning multi-media artist Sasha Meret was born in Romania in 1955, of Romanian and Russian parents. In his early years he lived in Moscow, Russia and later mostly in Bucharest, Romania. Since February 1987 he lives and works in New York City. From the very beginnings in his career as an artist he was ready to experiment with a wide range of materials and techniques. Painting, drawing, photography intersected with printmaking techniques like: intaglio, woodcut, aquatint or mono-type. Working in a variety of styles, from representational to abstract his imagery reflected his spiritual explorations, blending European, African, Asian, and esoteric symbolism in a highly personal visual language. He alternates figuration with abstraction in search for a balance between ideas and emotions. His main sources are his extensive readings on a wide variety of subjects as history, mythology, philosophy, literature and physics. In 2003 he was diagnosed with Parkinson's Disease. After the initial shock he rallied, refocused and sorted out his priorities and his work took a very different and surprising turn. Realizing that when he is in creative mode his PD symptoms practically disappeared, he became a workaholic. A combination of a large studio offered by a benefactor and very generous subsidy from one of his collectors allowed him to explore for several years working and experimenting in a variety of media without financial worries.This brought him a prestigious CODAvideo award for concept (https://www.codaworx.com/awards/video/2014/winners). His range of materials and techniques widened and sculpture/assemblages with found objects and photography became dominant in the recent ears. Keeping his body of work together for years allowed him to transform his studio into a continuously evolving Installation/Environment. In his work Meret tackles theories, concepts, and historical events, concurrently reversing perspective or reinterpreting facts until the world surrounding him becomes a little more reachable. He contemplates "If one removes sand grains one at a time, when does a heap of sand stop being a heap of sand?" and tests the wide concept of "change" and "transition". Often his works is an attempt to capture that elusive moment of transformation that is the fabric of what we call life. His approach to the creative process is a continuous search for new challenges.

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Venus of Willendorf with reconstructive job and contemporary hairdo. Sculpture

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Saatchi Art is pleased to offer the sculpture, "Venus of Willendorf with reconstructive job and contemporary hairdo.," by Sasha Meret, available for purchase at $7,200 USD. Original Sculpture: Clay, Glass, Metal, Plastic on Stainless Steel, Bronze, Glass, Steel, Wood. Size is 18 H x 10 W x 6.5 in.

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You will be placed in groups of 5-6 with members of your specialism.

Share examples of artwork or design that are reinterpretations of artefacts. Discuss how they are relevant to your shared discipline.

Consider how qualities such as material, colour, form, function, mechanism, pattern, cultural references, cultural significance, provenance, ritual use, etc. have been reinterpreted.

Each group will upload their findings and prepare to share their research with the rest of the cohort.

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Jean-Honoré Fragonard The Swing reinterpreted installation by Yinka Shonibare CBE

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Jean-Honoré Fragonard The Swing reinterpreted installation by Yinka Shonibare CBE

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The woman is dressed in African print fabric, instead of the rococo-esque silk and lace.
-cultural hybridity

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Designers reinterpret Shaker artefacts for Furnishing Utopia exhibition

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New York 2016: 11 international designers and studios have produced a range of simple furniture and homeware based on the American Shaker movement (+ slideshow).

As part of this year's Sight Unseen Offsite exhibition, the Furnishing Utopia showcase presented 32 new designs beside the original Shaker artefacts they reference.

The Shakers are members of a religious sect founded in England in the 18th century. They moved to colonial America and initially settled in Mount Lebanon, upstate New York, and became well known for their pared-back furniture and architecture. The designs were created to facilitate a simple lifestyle, and members considered making to be an act of prayer.

Notable pieces from the movement, which continued through the 19th century, included the ladder-backed chair and peg rail coat hooks.

"Often credited as the first Minimalists, the Shakers and their furniture have inspired countless Modernist and contemporary designers all over the world," said the Furnishing Utopia team. "Yet with their presence confined to just a few sites in the United States, people rarely have the opportunity to experience Shaker objects in person and in context."

The items created for Furnishing Utopia all follow similar design principals. Each designer or studio visited preserved Shaker sites at Hancock Shaker Village and the Mount Lebanon Shaker Museum, and used the archive of items during a workshop with the museum's curators.

Torsten Sherwood launches Shaker-influenced furniture collection

"Following the workshop, the designers were invited to produce designs that translate the ingenuity and aesthetics of Shaker objects into modern forms relevant to contemporary life," said the organisers.

The results included a series of three different-sized trays made from blackened ash wood by Denmark's Norm Architects, which can be hung on a wall.

Seattle-based Ladies & Gentlemen Studio created a desk with a fold-down front and a colourful woven stool.

US designer Christopher Specce's set of cleaning tools includes brushes, scrapers and rakes.

Minimal baskets with curved corners and handles, a wooden trestle table and matching bench, and a pole-backed rocking chair were all created by Studio Gorm from Oregon. The duo has previously designed a Shaker-inspired furniture collection that pegs onto the wall.

American designer Tom Bonamici contributed a set of wooden candlesticks, which includes tabletop, wall-mounted and suspended versions.

Other small items include a wooden toolbox by Hallgeir Homstvedt, petal-like pouches by Gabriel Tan and a curved dustpan by Darin Montgomery.

Studio Tolvanen, Zoe Mowat and Jonah Takagi also created pieces for the collection.

Sight Unseen Offsite took place from 13 to 16 May 2016 on the 15th floor of Manhattan's Grace Building, as part of the citywide NYCxDesign festival.

Other highlights from the exhibition included a range of furniture made from pastel-coloured cement, and marbled chocolate packaging patterned by mixing watercolours and salt.

Neri&Hu and Torsten Sherwood are among others designers that have taken influences from Shaker furniture to create their own collections.

Photography is by Charlie Schuck.

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Designers reinterpret Shaker artefacts for New York exhibition

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New York 2016: 11 international designers and studios have produced a range of simple furniture and homeware based on the American Shaker movement (+ slideshow). As part of this year's Sight Unseen Offsite exhibition, the Furnishing Utopia showcase presented 32 new designs beside the original Shaker artefacts they reference.

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Balloon Venus (Magenta) (2008 - 2012) by Jeff Koons

The art star tours his Brussels retrospective, explaining the sexual and artistic underpinnings of his work
There's a unusual report on artinfo.com of Jeff Koons' walking tour of his own retrospective, currently at the Galerie Almine Rech in Brussels. Apparently keen to bypass the usual organs of critical examination, Koons wandered about the Belgian gallery, dispensing simple explanations of his works - equal parts psycho-sexual symbolism and popular art history. He referenced the ancient Austrian fertility statue, the Venus of Willendorf, in the explanation of his own 2008-2012 work, Balloon Venus (Magenta).

"It's kind of a view of the cosmos," Artinfo quotes the artist as saying. "You have two crescent moons and you realise that it's somebody having sex, there's kind of a masculine-feminine presence, but it is only one person and they're actually having sex with themselves. The Venus of Willendorf is truly a symbol of fertility because it can procreate on its own. The Venus's breasts are full, they're voluptuous, her stomach, a real symbol of fertility. But if you look and you let your mind start to go, you realise that the breasts could actually be testicles and that the stomach could actually be a phallus and that it's actually going in on itself, and procreating."

He also explained his Hulk and lobster sculptures with allusions to Warhol, Dali, and fallopian tubes. For the full piece click here, and if you like what you read, consider our Vitamin 3-D book, which offers a great overview of contemporary sculpture and installation or Defining Contemporary Art which takes a revolutionary look at the history of the past 25 years in art though the eyes of curators such as Daniel Birnbaum, Cornelia Butler, Suzanne Cotter, Bice Curiger, Okwui Enzwezor, Massimiliano Gioni, Hans Ulrich Obrist and Bob Nickas.

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The art star tours his Brussels retrospective, explaining the sexual and artistic underpinnings of his work There's a unusual report on artinfo.com of Jeff Koons' walking tour of his own retrospective, currently at the Galerie Almine Rech in Brussels.

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This bridge called Striatus .Striatus is a project by the Block Research Group (BRG) at ETH Zurich and Zaha Hadid Architects Computation and Design Group (ZHACODE), in collaboration with incremental3D (in3D), made possible by Holcim.

Striatus is an arched, unreinforced masonry footbridge composed of 3D-printed concrete blocks assembled without mortar. Exhibited at the Giardini della Marinaressa during the Venice Architecture Biennale until November 2021, the 16×12-metre footbridge is the first of its kind, combining traditional techniques of master builders with advanced computational design, engineering and robotic manufacturing technologies ithout mortar

The name “Striatus” reflects its structural logic and fabrication process. Concrete is printed in layers orthogonal to the main structural forces to create a “striated” compression-only funicular structure that requires no reinforcement.

Striatus is an unreinforced concrete structure that achieves strength through geometry. Concrete can be considered an artificial stone that performs best in compression. In arched and vaulted structures, material can be placed precisely so that forces can travel to the supports in pure compression. Strength is created through geometry, rather than an inefficient accumulation of materials as in conventional concrete beams and flat floor slabs. This presents opportunities to significantly reduce the amount of material needed to span space as well as the possibility to build with lower-strength, less-polluting alternatives.

With an estimated 300 billion square metres of floor area to be constructed worldwide over the next 30 years, and floors comprising more than 40% of the weight of most high-rise buildings (10+ storeys), introducing the principles demonstrated by Striatus would truly disrupt the construction industry — transforming how we design and construct our built environment to address the defining challenges of our era.

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redefining and reinterpreting the meaning of the term artefact

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Originally an article written in 2013

An exponential growth in the public provision of digital and virtual storage in the last few decades alongside an up-scaling of connectivity and unceasing replacement of hardware and software has encouraged new zones of autonomy; feeding the development of alternative communities of artists, makers, uploaders and downloaders. This information-centric realm of virtuality poses problems for the traditional methods of conservation amidst such input and upload pollution the question becomes 'Can we retain any true form of a digital culture archive?' In 2009 Yahoo! Switched off the servers to GeoCities one of the most popular webhosting sites of the 90's before 'social media' hosting overtook GeoCities as a preferable and more suitable metaphor for our interactions over the web. This act reveals the salient tensions between the virtual and the physical environments; where the degradation of one affects the other. Jason Scott one the founders of the 'ArchiveTeam' speaking of closure of GeoCities stated, "[Yahoo!] found the way to destroy the most massive amount of history in the shortest amount of time with absolutely no recourse"

Institutions that are attempting to deal with the problem of digital conservation such as 'ArchiveTeam' and Rhizome's ARTBASE, when planning for a future further than 10 or 20 years, contend with very different problems to normal archives; the proliferation of computer formats and languages leaves the issue of encoding even if data itself is backed-up the code may become unreadable a few years or decades later. Steven Robertson's DRS (Digital Rosetta Stone) is one solution to this problem as he suggestions storing data with the information relevant to its encoding embedded within the actual data itself yet this suggests a constant translation leaving room for permutations to occur.

New media historian and curator Jon Ippolito suggests an approach of constant reinterpretation of digital artefacts, and more specifically digtal art works, using the example of Olia Lialina's regular reinvention of her 1996 art piece ' My Boyfriend Came Back From the War'.

Ruins by Olia Lialina screenshot from old Geocities site

The rate of technological and platform/software obsolescence creates easily identifiable era's of digital-history that pool and solidify, stratified and preserved to be uncovered via anarchaeological means; unlike other artefacts throughout history the virtual artefact may be frozen alongside its entire pre/post-history. This mutation of affect discards the static character of an artefact allowing it to own multiple points of departure, broadcasting as 'Gesamtkunstwerk' (total-artwork); a total system. Stano Filko and Alex Mlynárčik's HAPPSOC 1 (1965) states that all life in the city of Bratislava between the 2nd and 8th is a work of art, neatly encapsulating the mantra of systems-thinking the work as one seamless whole. Similarly Ken Goldberg's 'Telegarden' (1995) allowed users from the internet to remotely control a robotic arm situated in a circular patch of garden that was able to plant seeds, water plants and stream live video footage from the garden; an autonomy dependant upon a non-present public's communal participation in the upkeep of its physical garden. Both 'Telegarden' and 'HAPPSOC 1' act as a grouping of interactions made meaningful through their grouping yet Goldberg's Telegarden is actually able to deliver its metaphoric promise of totality.

Digital Conservation for the Virtual Art Artefact lies between total-memory (Total Recall) and complete reinterpretation. In 'Preservation in the Future Tense' Abbey Smith asserts "When all data is recorded as 0s and 1s, there is, essentially, no object that exists outside the act of retrieval." This whole dynamic is parodied in 'Digital landfill 1.1' (1998), a website created by new media artist Mark Napier that accepts data from users which it then proposes to dispose of, yet the process is made to seam like a futile one; a compost heap of data unable to rot in the true sense of the word. An excavation of 1998 through the means of the internet, one thousand years in the future, might be more likely to find a perfectly intact document thrown into Mark Napiers 'Digital Landfill 1.1' than a GeoCities user account.

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Digital Conservation and the virtual art artefact - Francis Patrick Brady

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Originally an article written in 2013 An exponential growth in the public provision of digital and virtual storage in the last few decades alongside an up-scaling of connectivity and unceasing replacement of hardware and software has encouraged new zones of autonomy; feeding the development of alternative communities of artists, makers, uploaders and downloaders.

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Dimitar Spasov - Banksy Lego Reinterpretation 

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Dimitar Spasov - Banksy Lego Reinterpretation 

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Jeff Friesen shows a different view on Banksy's artworks

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Photographer jeff friesen, creator of the brick fantastic series, has completed a new collection of LEGO dioramas. Bricksy recreates the popular urban works of street artist Banksy out of the colored blocks, piecing together the hand-crafted scenes with tiny interconnecting parts.

To many iconic images can be seen, from the familiar image of the girl with the heart balloon to the maid lifting up a piece of the wall, each public work is rendered in LEGO, reinterpreting the public artworks on a small scale and with a nostalgic twist. introduced into each small site are friesen's own extensions of the set, imagining what else might be taking place.
For example, the street artist's iconic bouquet thrower secretly throws the flowers to his girlfriend, a police officer symbolizing the forbidden love - image above.
Take a look below for some of the images in the series.

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Reinterpretation of Banksy works in LEGO for bricksy series by Jeff Friesen

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Photographer jeff friesen, creator of the brick fantastic series, has completed a new collection of LEGO dioramas. Bricksy recreates the popular urban works of street artist Banksy out of the colored blocks, piecing together the hand-crafted scenes with tiny interconnecting parts.

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When Hussein Chalayan Turned Furnishings Into Fashion

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We look back to A/W00, when the avant-garde designer staged a DIY happening with impeccable finesse – and turned a coffee table into a dress

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The reuse of waste materials in interior design

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The reuse of waste materials in interior design

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Stephen knapp’s light printing,

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The later designer reinterpreted the double screen drawing of the previous designer.

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Margiela Photocopied Clothes - Spring 1996

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Gates reuses objects of violence and reminds viewers of these histories

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2011 is a large wall-based work by the American artist Theaster Gates. It is made from strips of decommissioned fire hoses that Gates sourced in Chicago, his home town, and fixed to a wooden support. The hoses vary in tone between white, beige and brown, with three prominent red strips. Some have printed lettering (giving details of the manufacturer) but most are blank. Civil Tapestry 4 is one of a number of works that Gates made using fire hoses, and at almost two metres high and five metres wide, it is one of the largest.

The work's title points to its political and social content. In May 1963 a group of black children and students in Birmingham, Alabama, embarked on a peaceful march as part of the struggle for equal rights for black people in America. The Birmingham Commissioner for Public Safety, Eugene 'Bull' Connor, ordered the police to use fire hoses to spray the crowd with water in order to break up the march and force the demonstrators into submission. The force of the blasts of water was immense, and many of the children and students were injured. Gates has written, 'For days, fire hoses and canons were used to intimidate America's wrongly served.' (Theaster Gates, press release for An Epitaph for Civil Rights and Other Domesticated Structures, Kavi Gupta, Chicago 2011, http://www.re-title.com/exhibitions/archive_KaviGuptaGallery10939.asp, accessed August 2012.) The police brutality was widely condemned, and with President Kennedy criticising the Birmingham police, these events were seen as a pivotal moment in the Civil Rights Movement. Gates commented, 'The event led to immediate shifts in the American South and created opportunity for Black people to integrate.' (Gates 2011, accessed August 2012.)

Gates's materials for Civil Tapestry 4 are extremely politically charged. As well as calling to mind the use of hoses against black people during civil rights struggles, Gates's fire hoses also evoke the destruction of black churches by fire at this time and specifically the bombing of the Fifteenth Street Baptist Church in Birmingham in September 1963, in which four young girls were killed. By invoking the history of the Civil Rights Movement, Gates wanted to pay tribute to those people who fought in the struggle at great personal and physical risk. He has explained that he also wanted to raise a number of questions:

The student sit-ins and peaceful protests were transformative for all of this country. Some of us are slightly better while others are a great deal better, but over the last six decades, things are far from equal. The question then is one of political potency. How do we think of the history of Black political engagement that required acts of unrestrained heroism and life-threatening engagement? What is the state of Civil Rights, especially now that there are splinters of class-based need, new marginalized groups, and the ever present belief that things are better for all because of the election of 2008?
(Gates 2011, accessed August 2012.)

As such, with works like Civil Tapestry 4 Gates addressed the present as well as the past, prompting his audience to consider whether events such as those in Birmingham should be seen as part of a story of resistance that concluded with the election of Barack Obama in 2008, or part of an ongoing and unresolved crisis of inequality and disenfranchisement.

Gates began to use fire hoses in his work in 2011 following a show at his Chicago gallery Kavi Gupta in which he included a number of works featuring hoses. In the autumn of 2011 he had a solo exhibition at Los Angeles Museum of Contemporary Art titled An Epitaph for Civil Rights, and Civil Tapestry 4 was first exhibited in this show.

Further reading
Lilly Wei, 'Theaster Gates in the Studio with Lilly Wei', Art in America, December 2011, pp.120-6.
Theaster Gates, 12 Ballads for Huguenot House, exhibition catalogue, Documenta 13, Kassel, and Museum of Contemporary Art, Chicago 2012.
Mark Godfrey, 'Designs for Life', Frieze, no.149, September 2012, pp.120-7.

Mark Godfrey
August 2012
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'Civil Tapestry 4', Theaster Gates, 2011 | Tate

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Artwork page for 'Civil Tapestry 4', Theaster Gates, 2011 In May 1963, a group of black school children and students were marching peacefully for equal rights in Birmingham, Alabama. Police used powerful fire hoses to break up the march, injuring many of the young protestors.

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Heaven Gaia | Spring Summer 2021
https://www.youtube.com/watch?v=ICpTRECEBwg

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Heaven Gaia | Spring Summer 2021 "乾坤 沧渊"

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For Berlin based artist Lukas Wegwerth, crystals serve as a glue that gives a glamourous second life to broken ceramic objects. In some ways, Wegwerth is like a modern day alchemist. When looking for a solution to fix a favorite broken teapot, he became intrigued by the Japanese method of applying gold dust in the glue to purposely reveal the fissures in a broken vessel, and as such, elevating the object to a new status. After lengthy research and experimentation, he developed a process of applying a special salt-based solution along the unglazed edge of the ceramic. Overtime the crystals flourish and expand in unimaginable ways, as if transforming, Terminator style, right before our eyes.
https://www.trendtablet.com/45825-lukas-wegwerth/

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Van Gough painting turns into immersive installation

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The Healing Spaces- Reconnecting to physical world

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The Healing Spaces- Reconnecting to physical world

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Chindōgu (珍道具) is the practice of invention of ingenious everyday gadgets that seem to be ideal solutions to particular problems, but which may cause more problems than they solve. The term is of Japanese origin

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Visvim seeing their own technique as artefact and reinterpreting the techniques and fabrics into contemporary fashion

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Artist Glen Taylor solders ridges of metal to porcelain fragments, completing a halved teacup or broken saucer with a range of unusual materials: barbed wire, tarnished silverware, old book pages, and multicolored twine form a portion of the household objects. Each intervention contrasts the pristine, delicate qualities of the porcelain with the visible rust, unwieldy strings, and patchwork metals.
https://www.thisiscolossal.com/2020/07/glen-taylor-broken-porcelain/

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azio｜retro classic artisan bt 牛皮復古打字機鍵盤（中英鍵帽）

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azio｜retro classic artisan bt 牛皮復古打字機鍵盤（中英鍵帽）

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AZIO｜RETRO CLASSIC ARTISAN BT 牛皮復古打字機鍵盤（中英鍵帽）

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Windows與macOS雙系統適用BT (Bluetooth) 無線藍牙版獨家開發Typelit機械軸心奢華精品設計懷舊打字機款牛皮手工製作鋅鋁合金框架鍵帽中心發光回充高續航力

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Victoria and Albert Museum: Explore the Collections

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Set design by Alan Barlow for John Taverner's opera Thérèse, Royal Opera House, Covent Garden, 1979.

Alan Barlow (1927-2005) began designing for amateur dramatics in his home town of Coventry and in 1946 became Resident Designer at the Bristol Old Vic, working with director Hugh Hunt. When Hunt became director at the Old Vic in London, Barlow joined him, winning acclaim for his first London production, Goldsmith's She Stoops to Conquer, in 1949, designed after Rowlandson. Subsequent work for the Old Vic included the 1951 Festival of Britain production of The Merry Wives of Windsor, The Clandestine Marriage, and Murder in the Cathedral. For the Royal Opera House he designed A Masked Ball and Norma (both 1952).

Barlow had converted to Catholism in 1950 and in 1953 he abandoned his successful theatrical career and became a Benedictine monk at Prinknash Abbey in Gloucestershire, where he designed murals, pottery, tapestries and stained glass and painted portraits. Though his religious faith remained important, he decided that the monastic life was not for him and returned to theatre design in 1965, when he received a Fellowship in the Drama Department of Manchester University, and then became its Head of Design and lecturer in Greek Theatre. In 1969 he was appointed Head of design at the National Theatre School of Canada in Montreal, a post which he held until 1971. Barlow continued to design for major theatre and opera companies around the world, notably for the Abbey Theatre, Dublin. In 1979 he designed John Taverner's opera Thérèse for the Royal Opera House. This was Taverner's only full length opera, based on the life of St Thérèse of Lisieux

In 1980 Barlow retired from the theatre to concentrate on painting, though he did return to the stage for a production of The Bacchae at Stratford Ontario in 1995.

Categories

Object Type

Brief Description

Set design by Alan Barlow, Thérèse, The Royal Opera, Covent Garden, 1979

Summary

Set design by Alan Barlow for John Taverner's opera Thérèse, Royal Opera House, Covent Garden, 1979.

Alan Barlow (1927-2005) began designing for amateur dramatics in his home town of Coventry and in 1946 became Resident Designer at the Bristol Old Vic, working with director Hugh Hunt. When Hunt became director at the Old Vic in London, Barlow joined him, winning acclaim for his first London production, Goldsmith's She Stoops to Conquer, in 1949, designed after Rowlandson. Subsequent work for the Old Vic included the 1951 Festival of Britain production of The Merry Wives of Windsor, The Clandestine Marriage, and Murder in the Cathedral. For the Royal Opera House he designed A Masked Ball and Norma (both 1952).

Barlow had converted to Catholism in 1950 and in 1953 he abandoned his successful theatrical career and became a Benedictine monk at Prinknash Abbey in Gloucestershire, where he designed murals, pottery, tapestries and stained glass and painted portraits. Though his religious faith remained important, he decided that the monastic life was not for him and returned to theatre design in 1965, when he received a Fellowship in the Drama Department of Manchester University, and then became its Head of Design and lecturer in Greek Theatre. In 1969 he was appointed Head of design at the National Theatre School of Canada in Montreal, a post which he held until 1971. Barlow continued to design for major theatre and opera companies around the world, notably for the Abbey Theatre, Dublin. In 1979 he designed John Taverner's opera Thérèse for the Royal Opera House. This was Taverner's only full length opera, based on the life of St Thérèse of Lisieux

In 1980 Barlow retired from the theatre to concentrate on painting, though he did return to the stage for a production of The Bacchae at Stratford Ontario in 1995.

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Thérèse | Barlow, Alan | V&A Explore The Collections

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Set design by Alan Barlow for John Taverner's opera Thérèse, Royal Opera House, Covent Garden, 1979. Alan Barlow (1927-2005) began designing for amateur dramatics in his home town of Coventry and in 1946 became Resident Designer at the Bristol Old Vic, working with director Hugh Hunt.

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Ancient pan and modern pan combined with the hills-and-waters culture

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KAWSis an American graffiti artist and designer known for his toys, paintings, and prints. Born Brian Donnelly on November 4, 1974 in Jersey City, NJ, KAWS graduated with a BFA from the School of Visual Arts in New York and went on to work in animation. "When your whole art is based on the lettering you choose, you kinda figure out what ones work together. I just liked the shapes of the k, a, w, s," he explained of his moniker. Having started as a graffiti artist in New York in the early 1990s, KAWS began reworking advertisements in his distinctive style. Pop Art and culture permeate his cartoonish Companion series of figurines, which bear a resemblance to the works of Takashi Murakami. KAWS worked together with Nike in 2017 to produce an Air Jordan 4 shoe and has done multiple collaborations with the clothing brand Uniqlo, continuing to blur the boundaries between fine and commercial art. The artist is also known for his large scale public installations, such as 2019's KAWS: Holiday which was installed in the Hong Kong harbor during Basel Hong Kong. In 2019, THE KAWS ALBUM (2005) sold at auction for a record $14.8 million, breaking his previous record of $2.7 million which was set in 2018. This work is a take on the Beatles' famous 1967 album cover for Sgt. Pepper's Lonely Hearts Club Band, but instead replaced with characters from The Simpsons with the artist's signature Xs drawn across their eyes and skull. After years in the industry, KAWS gained approval from his peers in the street art world and more recently prestige from the museum and gallery worlds. Today, his work can be found in the collections at the High Museum of Art in Atlanta, the Modern Art Museum of Fort Worth, and the Rosenblum Collection in Paris. KAWS currently lives and works in Brooklyn, NY.

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KAWS is an American graffiti artist and designer known for his toys, paintings, and prints. View KAWS's 6,262 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, sculpture, and paintings for sale and learn about the artist.

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Shammi exchanged emails with Rosie Grace Ward during August 2020.
All the images accompanying this email conversation have been provided by Rosie.

Nature vs nurture, meet the 'Iron Knife Child' artist, Rosie Grace Ward, that is combining the earthly, the religious and the cyberpunk fiction in her work, illustrating a hypotonic vision on the sinister world we live in.

Rosie Grace Ward is a sculptor, jewellery maker and writer based in London, where she graduated from Camberwell College of Arts in 2017. Ward's gothic fantasticism vision of the world, consists of her work evolving the imagery of symbolic objects using the base materiality of mud, metal, plants and wood all forming the 'Iron knife child'.

Largely, her work is showcased in the form of installations. She creates contexts and scenes that blend to prevale collective longing for a future to be a part of, against historical impulses towards monotonous and increasing obsolescence.

For Kiko Kostadinov SS20 womenswear collection, designers Laura and Deanna Fanning reached out to Rosie after stumbling across Ward's sculptures at Hannah Barry Gallery, in an attempt to synergise their exploration of a cyberpunk world, creating objects of femininity in form of spirally circles, seen throughout the collection. The dystopic artist put together the set design in the show space, creating Neolithic totems which the Fanning twins used both as jewellery and as part of the garments. The sculptor helped bring to life the hypnotic circular motif that ran throughout the collection, intertwining symbols from the Chinese Yin Yang to the futuristic and folkloric.

Part of Rosie's collaboration with fashion label Kiko Kostadinov

Ward's concerns with political warfare and obsolescence in the form of the lack of 'progress' in everyday life was the embodiment of her most recent work, that has been showcased on a public railway bridge on Southend High Street, commissioned by the Focal Point Gallery, 'Arrowcut Slab (Colliding not thriving).' Drawing inspiration from Southend's Anglo-Saxon history, each panel - decorative, and figurative - delineate both sides of an intricately carved slab of stone. Digitalised images have been created from Ward's hand painted watercolours, which heavily testify a fusion of Celtic stone tomb, depicted through monolithic medieval drawings and manuscripts.

Here, I speak to Ward about her futuristic vision of dystopia, her collaboration with Kiko Kostadinov and how she draws upon connections between culture and materialism.

Shammi Popat
Rosie Grace Ward

Could you just give me an outline of what you specialise in, your background and your development as an artist? Many industry experts describe you as an 'environmental apocalyptic artist '.

'Enviromental apocalyptic artist' makes me sound a bit eco fascist I promise I am not arguing for the end of the world or destruction of humanity!

I make sculptures and installations and jewellery, and I sometimes write a bit of fiction. I went to Camberwell where I didn't really learn very much but was recommended some good books by friends like 24/7 by Jonathan Crary and Capitalist Realism by Mark Fisher, that really put into words the stasis and ennui precarity and depression that was viscerally recognisable all around me in 'post' austerity Britain. That time, around 2016 was so dry ideologically, and everything was obfuscated, and I had felt like I had no grip on why things were the way they were. That kind of reading helped me to draw connections between culture and materialism, and I channelled all that confusion and contradiction into my work. I got really interested in Hauntology and the culture of nostalgia FOR culture, mostly through Fisher's writing.

It's always hard to try and tie up the end of these sort of answers in a bow because there is no final reason that my work exists, I feel like I am just following my nose, but I suppose those moments that I have described are the formative ones.

Living and working in somewhere as space starved as London, it was an unbelievable privilege to make the things I was thinking about, and also allowed me to take on the first few shows that came up post-graduation.

In 2017 you were awarded the Vanguard Prize, of Camberwell College of Arts. How much did this aid your growth having a free studio residency at Vanguard Court for one year, with mentoring and support from Camberwell College of Arts?

A look from Kiko Kostadinov SS20 featuring Rosie's jewellery work

It was the only thing that made it possible to be honest. I felt and still feel guilty to have won it because it such a transformational opportunity. Living and working in somewhere as space starved as London, it was an unbelievable privilege to make the things I was thinking about, and also allowed me to take on the first few shows that came up post-graduation.

It was really daunting to have this amazing space and trying to find time to use it whilst juggling part time jobs. Knowing I wouldn't be able to be there very often made me anxious but I shared it with a friend who I graduated with who also made large scale work, so I felt like it was being used as much as possible. By the end of the residency it was overflowing with work (mostly from my prolific friend). There was clay cherubs' heads littered everywhere, full scale angels' wings, towers of mdf, buckets of fake blood and bundles of swords.

I didn't really get any mentoring from Camberwell during that times, but I did get to do a show in their gallery called Think and Pray for Me. I also had continued support and mentoring from my studio mate Fred Hunt, and other friends and colleagues which was and continues to be a huge blessing.

You collaborated with Laura and Deanna Fanning for Kiko Kostadinov womenswear SS20 collection. Could you speak to me about the inspiration around this collaboration, that perfectly synergised your exploration of a 'cyberpunk tribal world'?

So, Laura and Deanna had been to one of my shows and had got in contact with me afterwards. The twins and Kiko are really seriously interested in art so it was really exciting when they asked to work with me. We had the perfect balance where they trusted me to have full creative control of the design of the set but also, we could bounce off each other's research really well.

When we first met it was clear to me that we had really similar research and politics. We are both interested in futurity and progress and there were obvious similarities in our work. Laura and Deanna's designs have this totally other worldly quality about them; they reference the futurism of the 60's, but completely diverge from the technology focussed vision popular at that time, and instead they centre the natural world, where we sit in it, and the intense spirituality and dependency of this relationship. Both our interests in the future are based on synchronicity, not supremacy, which I think is reflected in their designs. There was also a strong and coincidental link where Laura and Deanna and I had all been working on similar samples of a swirling human-like figure, which became a main motif in the show.

The twins and Kiko are really seriously interested in art so it was really exciting when they asked to work with me.

How did you approach the collaboration with Kiko Kostadinov? Was it a different approach than a regular project?

The collaborative element for this project was an intense intersection of interests. We had meetings where we discussed our ideas and research but also, we were able to work independently, with the knowledge that the end results would sit in harmony with each other. Of course, I kept them up to stay with my progress, but they never told me not to do something, or tried to steer me in a different direction. In that was it wasn't too different from my normal approach to my work. I am very grateful to them for trusting me to do my thing. It was a risk, and i didn't help by making 2,5 metre columns that weighed a tonne and has tiny shards of jagged metal attached to it.

Rosie's collaboration with Laura and Deanna Fanning reflected here on the set design for Kiko Kostadinov SS20

What are some of your favourite pieces from the collaboration?
My favourite Kiko pieces from that show were the Corno bag, it's just beautifully crafted and it's both whimsical and sharp somehow.

I was also really excited when they combined 2 pieces of the jewellery with one dress and one top in the show, where the pieces rested on the model's clavicles. We had only spoken about the pieces being pendants, and they kept the idea a secret until I was sitting watching the show, and my jaw just dropped when I saw it. It was such a great moment, it looked so beautiful.

The pieces of jewellery for the Kiko show were part of my practice. It's the only jewellery I've ever made, and they were primarily designed as cultish props.

In terms of your jewellery work, what's the connection between this and your other work?
The pieces of jewellery for the Kiko show were part of my practice. It's the only jewellery I've ever made, and they were primarily designed as cultish props. I only really started describing them as jewellery because it was easier. A lot of my work is making imagined artefacts that carry a heavy symbolic weight to them. These pieces were just an extension of that.

Can you talk us through some of your design processes in the form of manufacturing your work?
It's a bit all over the place. Manufacturing sounds a bit grandiose for my level of organisation. I get bored quickly and I like working with new materials and processes. Because I spend so much time researching, reading and drawing, the making stage can be quite therapeutic and revitalises me although I do physically exhaust myself.

Rosie's lack of balance and organisation does result in some happy accidents during her design process

My process and use of materials are a hybrid of sort of knowing what I am doing, and also having no idea what I'm doing. I don't have a specialism, although I do know how to work with some processes to a professional level such a mould making, and I also picked up loads of information and techniques whilst working at the old sculpture materials shop, Tiranti.

Other processes I just have to learn from scratch. It is not very balanced or organised but it does result in some happy accidents.

How have you found this global pandemic and how has it affected projects you are currently working on as a freelance artist?

The pandemic has split me in 2 in its contradictions. Firstly, it's been horrific to watch a completely preventable disaster be unleashed in real time, disproportionally effecting the most vulnerable people in our society. This pandemic comes along and basically confirms all the failures of financialisation and capitalism that we already knew to be true, and makes an iron clad case for socialism mere months after it had been roundly rejected at the ballot box. It has made me so angry and I am totally contemptuous of everyone in the political and pundit class who failed to support a mild social democratic programme when they could, and I am infuriated with the tiptoeing wet paper towel approach of holding the government to account that passes as opposition right now. It will continue to create a gasping chasm of inequality in the arts which we will see play out for years to come.

You see the immediate effect already, with Tate workers striking after 300 jobs being cut despite them being given a government bailout of £7 million. Many of these workers will be artists, which the Tate will be well aware of. It helps to know, at least, that these institutions hold their future cash cows, artists, who they will eventually try to profit off, in complete contempt, and I hope they will never be allowed to forget it.

The flip side of all this shit is the quiet and the tedium of the slowing down of life which has been a relief. Having the opportunity to isolate myself has given me the time to focus on working with anxiety. I moved back in with my parents 2 years ago after finding working in London too stressful and precarious. I am incredibly grateful that the pandemic hit whilst I was here, as I have been around my family, in the countryside. Although all my shows were pushed back, none were cancelled which has been a great relief, although I am aware that I am in a small minority.

In terms of my routine, at the moment I am still in the research stage of a project, which I find hard to manage. Whole days get sucked out of me and sometimes I feel like I have done nothing at all. In this time, I do a lot of reading and staring at the wall, but I think the cogs are slowly turning. When I'm in the production stage of a show my schedule is much more rigorous. The job always seems to fill the time I have in which to do it, no matter how organised I am, so I will get up really early and work until 10 at night. I rarely take weekends off which is stupid and bad for you but often I find it impossible to avoid.

Having the opportunity to isolate myself has given me the time to focus on working with anxiety.

What do you currently have upcoming for the distant future?
I'm in a group show at Focal Point Gallery that opens on the 12th of September called 'To Dream Effectively' based on the novels of Ursula Le Guin, especially 'The Lathe of Heaven' which is where the title of the she comes from. It's my first time exhibiting in the gallery itself, they put on brilliant shows and work with such great artists so I'm so excited to be included in this one, alongside so many great people.

Shammi Popat (@shammipopat) is a London-based fashion writer and stylist. He is interested in rethinking modern day style with an eye for detail and child-like curiosity for the future of fashion. Read all of Shammi's pieces here.

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Sculptor and Jewellery Maker Rosie Grace Ward Talks About the Intersection Between Art and Fashion - True to Size

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Shammi exchanged emails with Rosie Grace Ward during August 2020.All the images accompanying this email conversation have been provided by Rosie. Nature vs nurture, meet the 'Iron Knife Child' artist, Rosie Grace Ward, that is combining the earthly, the religious and the cyberpunk fiction in her work, illustrating a hypotonic vision on the sinister world we live in.

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Visvim reinterpreting moccasin

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In regard to our circumstances, I've developed an interest in the healing process.

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Dance costume

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Maison Martin Margiela reinterpreting sashiko technique

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Kunsthofpassage Funnel Wall  – Dresden, Germany. A structure that creates musical vibrations for the passerby. Also the musical road https://www.google.com/search?q=musical+road&sxsrf=AOaemvKXEkS5gwBH6ozi4T2P7VLAkU0LwQ:1632314409607&source=lnms&tbm=isch&sa=X&ved=2ahUKEwj06K6EzZLzAhX8gf0HHY9EByUQ_AUoA3oECAIQBQ&biw=1440&bih=789&dpr=2#imgrc=zgZGdzTLtj8LhM&imgdii=AQAMK-tNW5q8_M

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He is a representative of American designers in the 1970s and a leading figure and fashion icon in the American fashion industry. But his ideas had far-reaching consequences. Halston's Studio 54 look played a crucial role in the simplicity of the 1990s.

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Draw with illustrated objects of Black British art in the Decentralise interactive toolkit (itsnicethat.com)

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Somerset House has launched Decentralise, a new digital art project offering a playful way to interact with Black British cultural history. Made by the institution's Young Producers collective, together with design studio Comuzi, the website allows visitors to draw using objects of Black cultural significance as brushes, to make their own digital artworks. The illustrated objects range from a hair relaxer by David Hammons to a speaker system by Gaika and a Pan African Flag by Larry Achiampong, all taken from previous exhibitions at Somerset House.

All 16 objects fit into one of four categories: political art, afronowism, disobedient objects and afrofuturism. When you choose an object to draw with, you learn more about its history, its original creator, the show it was part of at Somerset House (for example Get Up, Stand Up Now (2019) or Return of the Rude Boy (2014) and the themes addressed by the artist. Users can also choose from a selection of background scenes on which to create their artworks. All the creations saved will form part of an online gallery archive.

The brief to the Young Producers was to create a body of work that celebrates Black British cultural history, stories that have largely been left out of much of the UK's cultural archives. Decentralise therefore aimed to demystify these archives by making them interactive and open to everyone. "Whilst archives remain largely inaccessible, we saw the value of using Somerset House as an accessible, decentralised vessel for Black cultural appreciation and history," explains Young Producer Jahnavi Inniss.

The illustrated style of the objects is intentionally various, to honour the eclectic visual heritage it tributes, so users can "explore different artistic expressions of Black British history and culture," Inniss adds. Some objects are influenced by the artists who created the original, for example, the Deborah Roberts figure uses collage, while others show the individual Young Producer's artistic interpretation of an object and its meaning. "For my illustrations, I put an emphasis on line work and colour, as a reflection of the vibrancy of Black British Culture," says Kayleigh De Sousa. Having said that, the team worked hard to ensure there was "artistic harmony" across the toolkit, to ensure a coherent vision.

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Draw with illustrated objects of Black British art in the Decentralise interactive toolkit

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Somerset House has launched Decentralise, a new digital art project offering a playful way to interact with Black British cultural history. Made by the institution's Young Producers collective, together with design studio Comuzi, the website allows visitors to draw using objects of Black cultural significance as brushes, to make their own digital artworks.

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Interactive media exhibition depicting utopia.
Member of the creative team representing South Korea in 2016.

This was the very first London Design Biennale happening, and it is set to take place in London's Somerset House. With 37 countries participating across six continents, every team was commissioned to re-imagine and re-interpret what utopia is through design.

We came together as a team of graphic, interaction, and exhibition designers to realize what this could be in a way that is unique to Korea. What could have seemed like an arbitrary team brought out the best in us throughout the process and the output as a whole. The wide gamut of backgrounds helped us look at and approach the same problem from varying perspectives, and the diverse set of expertise created synergy when we were heads down articulating our vision through design details.

‍ This project was special in many ways, and one of the areas that stood out was how we collaborated. The team was spread across 3 continents (South Korea, U.S.A., U.K.) and 4 cities (Seoul, Seattle, Pittsburgh, London). Naturally as a result, majority of the collaboration happened remotely during the course of this 9-months project.

It was about half-year into the project when we were finally able to create an opportunity to have everyone meet face-to-face. It was also a chance to make sure we were all real people and not bots.

Slightly prior to the time U.K.'s Sir Thomas More wrote the fiction Utopia (1516), a painting was drawn by Korea's Ahn Gyeon in 1447. The painting's Korean name is "Mong Yu Do Won Do", which translates to "Dream Journey to the Peach Blossom Land" in English. The painting depicts a bird's eye view of the journey from reality to utopia (the Peach Blossom Land) and is drawn in 3 key perspective; The left side being the grounded reality and the Peach Blossom Land being on the right side of the painting,

Both the painting "Mong Yu Do Won Do" and the fiction "Utopia" were about what people idealized as Utopia at the time, and we became inspired by the idea of blending views of the East and the West through these two pieces.

Early on in the process, we've explored two concepts. Out of the two, the below concept resonated with us more.

Both focused on a design experience that breaks the barrier of time, space, and culture by visualizing the reimagined utopia world depicted in the Mong Yu Do Won Do. There are three key components in persist in both installation concepts:

1. First is the digital and physical participatory design experience: Both of the installation methods will include an online platform where viewers from remote locations can interact with the piece. The visual element in the physical exhibition area will be interlinked to the shared virtual space.

2. The second component is the visual element. Mapping Interviews spatially mapped 2D visual element onto multiple physical surfaces.

3. The third element is tangible input: Whether using gestural input, or simple text input via audio or keyboard, the goal is to enable participants in the exhibition space to feel connected to the piece.

While thinking about enabling a similar experience across both concepts, the variation was around how to capture that in different mediums and surfaces.
Refining the design space

As with most projects, we came across a moment where a grounded set of constraints (ex. The space, funding required to enable ideas, lighting conditions, and more) came into play. Rather hindering us from being creative, these variables helped us articulate the context into something more tangible and something we can be creative on / with / against.

In addition, understanding the exhibition space and imagining the paths the audience can take guided us in how to take the early concepts forward. One of the interesting challenges that I've faced through the course of the entire project was how to guide the visitors without constraining them to a specific set of steps. In a digital product (such as a mobile application), it is a lot clearer to convey which step of the experience you are in and provide the right set of context and fences to keep the user (and the system) on track. In an exhibition, it isn't always clear which way a visitor will walk in from and how the visitor will maneuver the space once they enter the exhibition. The flexibility in how much you can walk the user through the piece is also limited (For one, the exhibition piece was to be experienced by multiple people at once. It was difficult to create a walkthrough and interaction guide catered for a single person in that space).
Design & Code: Mapping input to Landscape
The collection of thoughts around Utopia was used to recreate the landscape portrayed in the painting Mongyudowondo. We iterated through a number of design variations. To dynamically generate the landscape and the placement of individual thoughts, we've iterated through the different designs using live code.

Below are screenshots of the live code prototypes that we used to iterate through the designs. Designing through code was an integral part of the design iteration process. The graphic design members of the team also experimented with different ways to highlight the silhouette of the landscape using different visual explorations.

Rather than randomizing the placement of each thought as a dot on the map, we wanted to add a story that fit in with the original painting. The original painting was composed of three perspectives.

The landscape becomes more utopia-like (or more ideal) as it points towards the right. Can that be a factor to guide how and where each dot should be placed on the interactive map? By leveraging the text analytics capability from Microsoft's Cognitive Services, we analyzed each thought to calculate it's sentiment value (how positive it is) and determined which coordinate to place it on the landscape.

In additional, another key aspect of the experience to be able to view the thoughts the interactive map was comprised of. Three methods of interaction were explored:

1. Trackpad interaction: Use the input device connected to the computer at the exhibition site to browse through the landscape

2. Body gesture interaction: Use Microsoft Kinect to use arm and hand gestures to manipulate the landscape

3. Mobile app interaction: Deploy a mobile application that anyone can download to enable browsing from everyone's smart phone

After building working prototypes for all three interactions, we scoped the V1 to the trackpad interaction. Body gesture and Mobile app are in the works for future updates.
Design & Code: Left and Right sides of Mong Yu Do Won Do
If the center piece of the exhibition was the landscape visualization of modern day thoughts on Utopia, the left and right sides were populated with flowing thoughts about Utopia. On the Left, Thomas More's Utopia is flowing continuously. On the Right, the collective thoughts from the world about Utopia is flowing continuously. By default, the flowing texts on both sides are represented using our custom Utopia typeface. When user hovers over each section, the pattern-oriented typeface translates to alphanumeric-oriented typeface for better readability.

I chose to implement the key elements of this exhibition piece using web technologies for a number of reasons:

1. To use a cloud database to collect data (User's thought on Utopia) across multiple surfaces including the On-site installation // www.mongyudowondo.com // and a mobile app coming in the future

2. To tap into the publicly available feeds from different social network services such as Twitter

3. To enable and optimize for motion designs we imagined, considering there will be thousands elements in a single view as more thoughts gather.

4. To remotely control and push updates to the exhibition, since there will be times where none of the team members will be present on-site

Earlier prototypes included implementation using processing and manipulation through physical gestures using Microsoft Kinect.

Looking forward, what's exciting is the collection of thoughts people will have shared by the end of the exhibition (By the 4th day since the opening, we've received over 1500 thoughts to our question "What is your Utopia?" By the end of the Biennale, we received over 4000 thoughts.). It will be interesting to review, analyze, tease out, and visualize patterns & trends among this collection.

From interaction design perspective, the next step will be evolving how people engage with "Peach Blossom" so that a larger number of the visitors can interact with the piece from whereever they are in the exhibition space.

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Interactive media exhibition depicting utopia. Member of the creative team representing South Korea in 2016. This was the very first London Design Biennale happening, and it is set to take place in London's Somerset House. With 37 countries participating across six continents, every team was commissioned to re-imagine and re-interpret what utopia is through design.

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New York 2016: 11 international designers and studios have produced a range of simple furniture and homeware based on the American Shaker movement (+ slideshow).

As part of this year's Sight Unseen Offsite exhibition, the Furnishing Utopia showcase presented 32 new designs beside the original Shaker artefacts they reference.

The Shakers are members of a religious sect founded in England in the 18th century. They moved to colonial America and initially settled in Mount Lebanon, upstate New York, and became well known for their pared-back furniture and architecture. The designs were created to facilitate a simple lifestyle, and members considered making to be an act of prayer.

Notable pieces from the movement, which continued through the 19th century, included the ladder-backed chair and peg rail coat hooks.

"Often credited as the first Minimalists, the Shakers and their furniture have inspired countless Modernist and contemporary designers all over the world," said the Furnishing Utopia team. "Yet with their presence confined to just a few sites in the United States, people rarely have the opportunity to experience Shaker objects in person and in context."

The items created for Furnishing Utopia all follow similar design principals. Each designer or studio visited preserved Shaker sites at Hancock Shaker Village and the Mount Lebanon Shaker Museum, and used the archive of items during a workshop with the museum's curators.

Torsten Sherwood launches Shaker-influenced furniture collection

"Following the workshop, the designers were invited to produce designs that translate the ingenuity and aesthetics of Shaker objects into modern forms relevant to contemporary life," said the organisers.

The results included a series of three different-sized trays made from blackened ash wood by Denmark's Norm Architects, which can be hung on a wall.

Seattle-based Ladies & Gentlemen Studio created a desk with a fold-down front and a colourful woven stool.

US designer Christopher Specce's set of cleaning tools includes brushes, scrapers and rakes.

Minimal baskets with curved corners and handles, a wooden trestle table and matching bench, and a pole-backed rocking chair were all created by Studio Gorm from Oregon. The duo has previously designed a Shaker-inspired furniture collection that pegs onto the wall.

American designer Tom Bonamici contributed a set of wooden candlesticks, which includes tabletop, wall-mounted and suspended versions.

Other small items include a wooden toolbox by Hallgeir Homstvedt, petal-like pouches by Gabriel Tan and a curved dustpan by Darin Montgomery.

Studio Tolvanen, Zoe Mowat and Jonah Takagi also created pieces for the collection.

Sight Unseen Offsite took place from 13 to 16 May 2016 on the 15th floor of Manhattan's Grace Building, as part of the citywide NYCxDesign festival.

Other highlights from the exhibition included a range of furniture made from pastel-coloured cement, and marbled chocolate packaging patterned by mixing watercolours and salt.

Neri&Hu and Torsten Sherwood are among others designers that have taken influences from Shaker furniture to create their own collections.

Photography is by Charlie Schuck.

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Designers reinterpret Shaker artefacts for New York exhibition

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New York 2016: 11 international designers and studios have produced a range of simple furniture and homeware based on the American Shaker movement (+ slideshow). As part of this year's Sight Unseen Offsite exhibition, the Furnishing Utopia showcase presented 32 new designs beside the original Shaker artefacts they reference.

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In the eighteenth century, the corset imposed a more-or-less conical configuration to the upper torso. By the late nineteenth century, a more softly rounded female form was preferred. This extended even to the body in profile. The straight and rigid busks of the eighteenth century gave way to busks that not only curved into the waist but also rounded out over the belly.

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Book de Vries- Memory Vessle

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3D Printer Plays Music - Harry Potter, Star Wars, AC/DC, Jurassic Park

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1961 Ferrari and DeLorean by Daniel Arsham

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Tiffany Glass Works. Use light and shadow to show different scenes and emotions. I thought it could be used to try out fabric. But I need to think about the right way to link them together.

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The designer of the digital Memorial cemetery was an Israeli. He thinks western cemeteries take up so much space that the way we remember the dead is to sit in front of a stone and dream about their faces, which is a grossly inefficient use of land

Relatives and friends of the deceased can collect all the digital information they want to keep and store it on a memory stick like a thumb drive. These memory sticks are kept together in memorial archives or libraries.

In fact, I don't agree with this kind of design very much, but this kind of different designs for death can reflect different people's attitudes towards this matter to some extent. I think this may be a question I want to explore

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Daniel Arsham instagram page. Yall must know it LOL

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He uses very simple and ordinary accessories and objects that have been doubly valued with artistic payment. 

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Daniella saraya

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Brightideas - Mobile Museum of National Palace Museum

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but in these paintings, the painters intention is not only to reconstruct the objects, but also the way they are represented has create a special personality in elements in peoples lives.

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Jean Jullien "Paper Man" It shows a series of paintings. Tell the story of a character who drafted a good idea and was abandoned by its creator. When it woke up, the thought found the painting he left behind. He felt sad and lonely, so he had to paint his partner by himself. In this way, the paper man was born.

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Making toothpick models to put into my 3D designs

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Making toothpick models to put into my 3D designs

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One of my artefacts from the V&A was a gold enamelled Elizabethan toothpick... I am interested in the reinterpretation of a toothpick as a material to create models which can be added to my designs.

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The front wall was not a part of the tomb. Was added separately to display how the tomb actually is supposed to be. The stones were taken from the same site in Egypt from the the stones for the tomb was taken.

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https://www.tate.org.uk/art/artworks/sargent-ellen-terry-as-lady-macbeth-n02053

Queen Elinor from Pixar's Brave design was allegedly referenced from John Singer Sargent's Painting of Ellen Terry as Lady Macbeth.

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I think Xu Bing's work uses words as the main character of his work, combining words with the artefact. It makes the text 'bird'(鸟) really fly.
This is a good example of how we can think about visualising our research.

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"Jan Plecháč and Henry Wielgus sketched the shape of the Lasvit Neverending Glory chandeliers by rotating the silhouette around its own axis. The large pieces of glass, for which even the wooden moulds are enormous are so demanding to produce that it would not be possible to create anything bigger. In the individual silhouettes, it is possible to recognize iconic chandeliers from five of the world’s most eminent concert halls and theatres; La Scala in Milan, Palais Garnier in Paris, the Metropolitan Opera in New York, the Czech Republic’s Estates Theater in Prague, and the Bolshoi Theater in Moscow."

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All the clowns' faces eaten away by greasepaint, ballerinas' ruined feet, acrobats' broken vertebrae, sculptors' crushed fingers, actors' coke-induced nasal perforations, solo singers' teared vocal cords, guitarists' ripped off fingernails, DJs' deaf ears, screenwriters' smoked lungs, painters' etched lungs, snapped muscles in glassblowers' faces. All that beauty hurts.

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All the clowns' faces eaten away by greasepaint, ballerinas' ruined feet, acrobats' broken vertebrae, sculptors' crushed fingers, actors' coke-induced nasal perforations, solo singers' teared vocal cords, guitarists' ripped off fingernails, DJs' deaf ears, screenwriters' smoked lungs, painters' etched lungs, snapped muscles in glassblowers' faces. All that beauty hurts.

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My artefact is Andy Warhol Campbell's Soup cans. Andy Warhol is an American contemporary artist.  He often uses daily American necessities as his art topics.  Campbell Soup Cans (1962) is a very typical work of art representing AndyWarhol's idea of ​​bringing art out of life.  Warhol's Dose is part of his art movement, which poses sharp challenges to the society, economy, and especially the consumer sector in Europe and the United States.  Warhol makes art beyond life, and tries to explore the development and boundaries of culture and society in the form of art.  This redesigned artwork (cracked SoupCan) shows the inner world of Warhol.