# data[].attributes.body
ריקמות

# data[].attributes.attachment_link.description
Jordan Nassar is an artist that lives and works in New York City.

# data[].attributes.attachment_link.readable_text
My name is David Grushko, (age 52) I am a basketry artist who lives in Israel (near Jerusalem). I was born in Paris and raised in the spirit of French æsthetics. At the age of 18, I began studying electronics, but I soon switched to homeopathy, that I still
practice in parallel to my art career.

I learned basketry techniques from Hertzel Auster, one of Israel's foremost basket weavers.

I believe that art is a superior tool for connecting the spiritual and material worlds and for revealing my innermost self. As an artist, I feel that the various facets that comprise my sense of self are displayed and expressed in my works. Some are
geometric and symmetric, following a fixed pattern, while others are more abstract and free-flowing, each one unique and inimitable. I use a variety of weaving materials, both natural and artificial, to invite attention and evoke curiosity. Weaving
combines manual labor and creativity, serving as a kind of simple, material foundation for abstract self-expression.

I recently began working with grapevines and date stems, attempting to incorporate them in varying proportions in my woven baskets. Grapevines are rigid, while date stems are soft. Combining them yield product durability and a sense of power. These baskets embody the presence of primordial, untamed nature. Like nature itself, the branching grapevines form different shapes that give each basket its unique and surprising design and form.

I produce a wide range of woven works: Simple baskets, designer baskets incorporating grapevines, imaginative trays and mandalas.
Terms & Conditions: Shipping charges displayed are for UK deliveries only. For any international deliveries, you will be contacted by London Craft Week (LCW) for additional charges. LCW takes responsibility for all works in its possession up to the point that a work is passed to the shipper or buyer. LCW will take reasonable measures to ensure works are wrapped and protected before they are passed to the shipper or buyer. LCW does not take responsibility for works in transit.

# data[].attributes.attachment_link.description
My name is David Grushko, (age 52) I am a basketry artist who lives in Israel (near Jerusalem). I was born in Paris and raised in the spirit of French æsthetics. At the age of 18, I began studying electronics, but I soon switched to homeopathy, that I still practice in parallel to my art career.

# data[].attributes.attachment_link.readable_text
Jayne Armstrong is an artist and maker in wood. Jayne works in a range of different woods, but is best known for her pieces turned on a lathe from freshly cut oak. Working green enables her to explore the sculptural and aesthetic possibilities of a material that moves and changes shape as it dries. These pieces are turned to 1 or 2 millimeters in thickness before being left to dry and take their form naturally. Once dry, Jayne bleaches, stains, burns, embellishes, oils and waxes to create work that challenges expectations of the material.

Jayne also works in seasoned wood to create unique and distinctive sculptural forms as well functional vessels and platters. Whether from green or seasoned wood, each piece starts life on a woodturning lathe. Jayne works in a responsive, dialogical relationship with the wood which may then be further carved, dyed, scorched and variously finished. Importantly for Jayne, much of the wood is sourced locally. Some will come from her own garden which she cuts and chainsaws herself. Other sources are friends, neighbours and the local tree surgeon. Worked in this way, each piece of wood has a story rooted in time and place.
Terms & Conditions: Any work(s) that is sold and shipping is required, London Craft Week does not take responsibility once it is passed onto the shipping company. Shipping charges displayed are for UK deliveries only. Any international deliveries, you will be contacted by London Craft Week for additional charges.

# data[].attributes.attachment_link.description
Jayne Armstrong is an artist and maker in wood. Jayne works in a range of different woods, but is best known for her pieces turned on a lathe from freshly cut oak. Working green enables her to explore the sculptural and aesthetic possibilities of a material that moves and changes shape as it dries.

# data[].attributes.headline
ביצים מלכותיים

# data[].attributes.subject
ביצים מלכותיים

# data[].attributes.attachment_link.readable_text
IMAGES COURTESY OF THE FORBES COLLECTION

The series of Easter eggs created by Fabergé for the Russian Imperial family, from 1885 through to 1916, is regarded as the artist-goldsmith's greatest and most enduring achievement. The Fabergé Imperial Easter eggs are certainly the most celebrated and awe-inspiring of all Fabergé works of art, inextricably bound to the Fabergé name and legend. They are also considered as the last great commissioned series of objets d'art.

The story began in 1885, when Emperor Alexander III decided to give a gold Easter egg to his wife the Empress Marie Fedorovna, possibly to celebrate the 20th anniversary of their betrothal. It is believed that the Emperor, who had first become acquainted with Fabergé's work at the Moscow Pan-Russian Exhibition in 1882, was inspired by an 18th century egg owned by the Empress's aunt, Princess Wilhelmine Marie of Denmark. The object was said to have captivated the imagination of the young Maria during her childhood in Denmark.

The Emperor gave detailed instructions regarding the design of the egg, making further suggestions to Fabergé as the project progressed. Easter was the most important occasion of the year in the Russian Orthodox Church, equivalent to Christmas in the West. A centuries-old tradition of bringing hand-coloured eggs to Church to be blessed and then presented to friends and family, had evolved through the years and, among the highest echelons of St Petersburg society, the custom developed of presenting valuable bejewelled Easter gifts. So it was that Emperor Alexander III had the idea of commissioning Fabergé to create a precious Easter egg as a surprise for his Empress. The first Imperial Easter egg was born.

Known as the Hen Egg, it is crafted from gold, its opaque white enamelled 'shell' opening to reveal its first surprise, a matt yellow gold yolk. This in turn opens to reveal a multi-coloured, superbly chased gold hen that also opens. Originally, this contained a minute diamond replica of the Imperial Crown from which a small ruby pendant egg was suspended. Unfortunately these last two surprises have been lost.

The Empress's delight at this intriguing gift with its hidden jewelled surprises was the starting point for the yearly Imperial tradition that continued for 32 years until 1917 and produced the most opulent and captivating Easter gifts the world has ever seen. The eggs were private and personal gifts.

Each egg, an artistic tour de force, took a year or more to make, involving a team of highly skilled craftsmen, who worked in the greatest secrecy. From 1887 Fabergé was given complete freedom in the design and execution, with the only prerequisite being that there had to be surprise within each creation. Dreaming up each complex concept, Fabergé often drew on family ties, events in Imperial Court life, or the milestones and achievements of the Romanov dynasty, as in the Fifteenth Anniversary Egg of 1911, commemorating the fifteenth anniversary of Nicholas II's accession to the throne, or the Romanov Tercentenary Egg of 1913 that celebrated 300 years of the House of Romanov.

Although the theme of the Easter eggs changed annually, the element of surprise remained a constant link between them. The surprises ranged from a perfect miniature replica of the Coronation carriage - that took 15 months to make working 16-hour days - through a mechanical swan and an ivory elephant, to a heart-shaped frame on an easel with 11 miniature portraits of members of the Imperial family.

Alexander III presented an egg each year to his wife the Empress Marie Fedorovna and the tradition was continued, from 1895, by his son Nicholas II who presented an egg annually to both his wife the Empress Alexandra Fedorovna and to his mother the Dowager Empress Marie Fedorovna. However, there were no presentations during 1904 and 1905 because of political unrest and the Russo-Japanese War.

One of the most expensive was the 1913 Winter Egg, which was invoiced at 24,600 roubles (then £2,460). Prior to the Great War, a room at Claridges was 10 shillings (50 pence) a night compared to approximately £480 today. Using this yardstick, the egg would have cost £2.36 million in today's money.

The Winter Egg, designed by Alma Pihl, famed for her series of diamond snowflakes, is made of carved rock crystal as thin as glass. This is embellished with engraving, and ornamented with platinum and diamonds, to resemble frost. The egg rests on a rock-crystal base designed as a block of melting ice. Its surprise is a magnificent and platinum basket of exuberant wood anemones. The flowers are made from white quartz, nephrite, gold and demantoid garnets and they emerge from moss made of green gold. Its overall height is 14.2cm. It is set with 3,246 diamonds. The egg sold at Christie's in New York in 2002 for US$9.6 million.

Of the 50 eggs Fabergé made and delivered the Imperial family from 1885 through to 1916, 43 have survived.

# data[].attributes.attachment_link.description
IMAGES COURTESY OF THE FORBES COLLECTION The series of Easter eggs created by Fabergé for the Russian Imperial family, from 1885 through to 1916, is regarded as the artist-goldsmith's greatest and most enduring achievement. The Fabergé Imperial Easter eggs are certainly the most celebrated and awe-inspiring of all Fabergé works of art, inextricably bound to the Fabergé name and legend.

# data[].attributes.attachment_link.readable_text
Celebrating outstanding British and international creativity, the festival brings together over 750 established and emerging makers, designers, brands and galleries from around the world. A curated selection based not on price or fame, but underlying substance. Plus, that essential dash of magic and inspiration that separates great from good.

Discover a range of emerging and established Makers from this year's edition of London Craft Week.

Explore the Programme for London Craft Week 2023.

# data[].attributes.attachment_link.description
Celebrating outstanding British and international creativity, the festival brings together over 750 established and emerging makers, designers, brands and galleries from around the world. A curated selection based not on price or fame, but underlying substance. Plus, that essential dash of magic and inspiration that separates great from good.

# data[].attributes.attachment_link.title
The Work of Art in the Age of Mechanical Reproduction

# data[].attributes.attachment_link.title
Walter Benjamin: The Work of Art in the Age of Mechanical Reproduction

# data[].attributes.headline
"יצירת האמנות בעידן השעתוק הטכני"  תקציר

# data[].attributes.subject
"יצירת האמנות בעידן השעתוק הטכני"  תקציר

# data[].attributes.attachment_link.readable_text
וולטר בנימין \ יצירת האמנות בעידן השעתוק הטכני -תקציר וסיכום

ראה סיכום קורס מלא: תרבות פופלרית - סיכומים
סיכומים, עדכונים, דברים מעניינים והרבה ידע בקבוצת הפייסבוק שלנו (לא תפרגנו בלייק?) יצירת האמנות בעידן השעתוק הטכני
הניתוח של וולטר בנימין ב"יצירת האמנות בעידן השעתוק הטכני" (לעיתים מתורגם גם כ"שעתוק מכני") מתחיל במשתנה החברתי שמהווה את ההקשר הרחב: ההנחה היא, שערך האומנות נובע מההקשר החברתי שלה. בנימין הסתכל על הטכנולוגיה כמו שמרכס הסתכל עליה, בהקשר של מבנה העל: הטכנולוגיה יוצרת את השינוי. זהו ניתוח מטריאליסטי ו מרקסיסטי. התזה של בנימין אומרת : "כי הטכניקות החדשות ואופני הקליטה החדשים הקשורים בהם מבטלים את המושג הבורגני של אומנות אוטונומית ובעלת הילה. שכן, משעה שמשעתקים את יצירת האומנות שעתוק המוני והיא מיועדת לשעתוק כזה, היא מאבדת את מעמד החד-פעמיות שלה, את הכאן והעכשיו המהווים את האותנטיות ואת ההילה שלה, ונשלטת ע"י תנאי השעתוק".
הטיעון המרכזי של וולטר בנימין ב"יצירת האמנות בעידן השעתוק הטכני":
ערכה של יצירת האומנות השתנה בכמה שלבים עיקריים במהלך ההיסטוריה ו תולדות האמנות, כתלות בהקשר החברתי שלה -
גלגולי ההקשר החברתי הדומיננטי של יצירת האמנות : דתי > אותנטי > פופולארי
תהליך של חילון. ירידה של הדת. אירופה בתקופת הרנסאנס ובתקופה המודרנית. האמנות כבר לא משרתת את הדת אלא מקבלת את ערכה מהקשר שבין האמן (שגם מציג) והקהל. לדוגמא, תיאטרון על סוגיו השונים. טענתו של בנימין היא שיצירות אמנות שהתפתחו בתקופה זו, ערכן נמצא באותנטיות- שמייצגת את ההקשר החד פעמי, הספונטאני והמשתנה מעבר לזמן ולמקום, ובהתאם לקשר בין המציג לקהל.

שלב השעתוק המכאני: שלב בו יצירת האומנות נכנסת לתוך ה מסחור, הופכת להיות סחורה. בנוסף לאמנות מתפתחת תעשיית תרבות. שלב זה מותנה בטכנולוגיה מתאימה. השעתוק המכאני אינו יכול להתרחש ללא טכנולוגיה מתאימה- דפוס, צילום ... היא הכוח שמאפשר מעבר לשעתוק טכני-מכני. כשהמעבר מתבצע והטכנולוגיה מאפשרת שעתוק, לכוח הזה יש משמעות מסחרית והייצור הופך לחלק מהשוק, לחלק מההיצע והביקוש.
פירוט של השלבים השונים:
גם בשלב 1 וגם ב-2 האמנות מייצגת משהו שנעשה שלא לצורך מסחרי-דתי/חברתי, בשלב השני האומנות היא חד פעמית ולא משוכפלת, ובזה מתבטאת האותנטיות שבה- המפגש החד פעמי בין השחקנים לקהל. בשלב זה יש כבר מקור והעתק. בשלב ה-3 הערך של יצירת אומנות זה הערך שהשוק נותן לה, הרייטינג. אין אותנטיות.

בשלב הדתי - האורה (הילה) היא מאגית. יצירת אומנות שמקבלת את ערכה מהדת, יש אורה מאגית והיא חזקה באופן מיוחד כי אנו מייחסים ליצירה האומנותית משמעות מיסטית, דתית ולא לשם רווח כמשהו ממוסחר. היא נוצרה במקור כחלק מפולחן וחלק מהקשר דתי. כאשר נוצר ביוון העתיקה פסל של וונוס ואנשים מביאים לו מנחות אז יש לו ערך פולחני דתי. בשלב הזה ההילה היא בשיאה.

בשלב החילוני - האורה היא אותנטית, האומנות מקבלת את משמעותה בהקשר חילוני. הערך שאנו נותנים להילה נובע מהיצירה עצמה- העובדה שהיא ייחודית במינה (מונה ליזה "האוריגינל" בלובר). דוגמה אחרת היא תיאטרון: יצירת אמנות שמקבלת את ערכה מהחד פעמיות, בה לכל צופה יש פרשנות קצת שונה, והאורה נובעת מכך שההצגה עצמה משתנה כל פעם. כאשר הפסל היווני של וונוס מוצג בעת המודרנית במוזיאון אז אנו עדיין מזהים אותו כאותנטי אבל הוא כבר מחוץ להקשר הפולחני שלו ולכן ההילה שלו חלשה יותר. בשלב הזה ההילה של היצירה נובעת מן מאותנטיות שלה, מתוך המשמעות הסמלית שלה.

בשלב הפופולארי - ניכור מהאורה, אובדן האורה יחד עם אובדן האותנטיות. שלב של תרבות פופולארית, שמבוססת על שעתוק מכאני. הרעיון המסחרי, במובן של הפצה ושכפול האומנות. כבר אין אורגינל אלא רק שכפולים רבים. היצירה בנויה על בסיס טכנולוגי של שכפול. ברגע שאומנות נעשית בהמון עותקים, אז קורה לה משהו, היא עוברת שינוי וההילה פחות חזקה. ניכור השחקן מהמכשור שמצלם אותו. המצלמה הופכת את השחקן לאחר, ואת הקהל למציצנים. ערך הרייטינג מעצב את טעם ההמון והופך אותו לשטחי יותר ויותר.
קטעים נבחרים מהמאמר:
לסיכום, יש כאן רצף ש לשלושה שלבים כרונולוגיים שבכל אחד מהם יש ערך שונה ליצירת האומנות למרות שלכל תוקפה יש את הדגש שלה, ניתן לראות שרידים של התקופה הקודמת גם בתקופות המאוחרות. בכל מקרה יש דעיכה הדרגתית של ההילה משלב לשלב.

פרגמנט א': "עקרונית היה אפשר לשעתק את יצירת האומנות מאז ומתמיד, כל מה שהאדם עיצב ניתן לחיקויים ע"י אחרים..." בשעתוק, הכוונה לשכפול טכנולוגי ולא לפירוש המקובל במרכסיזם.

פרגמנט ב': "אף השעתוק המושלם ביותר חסר דבר אחד..." מצד אחד יש מראה של העמימות והקושי להבין למה התכוון בנימין, ומצד שני במשפט זה יש קסם מסוים. בנימין מנסה להגדיר את ההילה של יצירת האומנות, הנוכחות החד פעמית של המקום בו היא נמצאת. טענתו היא כי השעתוק פוגע בהילה זו.

פרגמנט ד': "פסל עתיק של ונוס..." לפסל זה היה בקרב היוונים הקשר מסורתי דתי. בנוסף היה לפסל גם הקשר אותנטי- מנותק מהערך הפולחני הדתי, אבל נותן לה ערך של אותנטיות, שיש רק יצירה אחת ויחידה- גם עבור הכמורה של ימה"ב שלא האמינה, ידעה שהפסל הוא אותנטי, שיש רק פסל אחד. "תפקודה הפולחני גם יהיה מתווך ניכר עדיין גם בצורות החילוניות ביותר..." ביקור במוזיאון כדי לראות יצירה הוא פולחן מחולן, היצירה כבר איננה חלק ממשהו דתי אך אנו עדיין סוגדים סגידה חילונית ליצירה וליופי שהיא מייצרת.

# data[].attributes.attachment_link.title
וולטר בנימין \ יצירת האמנות בעידן השעתוק הטכני -תקציר וסיכום

# data[].attributes.attachment_link.description
ראה סיכום קורס מלא: תרבות פופלרית - סיכומים סיכומים, עדכונים, דברים מעניינים והרבה ידע בקבוצת הפייסבוק שלנו (לא תפרגנו בלייק?) יצירת האמנות בעידן השעתוק הטכני הניתוח של וולטר בנימין ב"יצירת האמנות בעידן השעתוק הטכני" (לעיתים מתורגם גם כ"שעתוק מכני") מתחיל במשתנה החברתי שמהווה את ההקשר הרחב: ההנחה היא, שערך האומנות נובע מההקשר החברתי שלה.

# data[].attributes.attachment_link.title
collaboration Archives - Page 15 of 22 - NUNUNU WORLD

# data[].attributes.attachment_link.description
The objects in the solo show of Shay Id Alony, attempt to investigate and research the subject of the shield and its significance in the psychological, metaphoric and universal contexts, as well as the contemporary Israeli context.

# data[].attributes.attachment_link.title
Video   Alexander McQueen  Savage Beauty   The Metropolitan Museum of Art, New York

# data[].attributes.attachment_link.title
Allan McCollum: "Shapes Ornaments" | Art21 "Extended Play"

# data[].attributes.headline
𝘏𝘢𝘯𝘥𝘸𝘢𝘴𝘩𝘪𝘯𝘨, 𝘙𝘪𝘵𝘶𝘢𝘭𝘴, 𝘢𝘯𝘥 𝘍𝘰𝘳𝘮𝘴 𝘰𝘧 𝘖𝘣𝘴𝘦𝘴𝘴𝘪𝘰𝘯

# data[].attributes.subject
𝘏𝘢𝘯𝘥𝘸𝘢𝘴𝘩𝘪𝘯𝘨, 𝘙𝘪𝘵𝘶𝘢𝘭𝘴, 𝘢𝘯𝘥 𝘍𝘰𝘳𝘮𝘴 𝘰𝘧 𝘖𝘣𝘴𝘦𝘴𝘴𝘪𝘰𝘯

# data[].attributes.headline
אנסטגרם: טקסטורות 

# data[].attributes.subject
אנסטגרם: טקסטורות 

# data[].attributes.headline
דורון סולומס: אינוונטר

# data[].attributes.subject
דורון סולומס: אינוונטר

# data[].attributes.body
1. מוצר אחד, יוניק, לא תעשייתי ולא מתוך סדרה

2. סדרה שכל מוצר בה, על אף שהוא באותה תצורה הוא שונה, בד"כ בעקבות שימוש ברדי מייד

3. סדרה מוגבלת (Limited Edition) שנוצרת על סמך דגם אחד - כמו haute couture

4. מוצרים בעבודת יד, ארטיזאן, כל מוצר יוצא טיפה שונה, עם עקבות של החומר, עבודת היד וכד'

5. קאסטום מייד - מוצר שמקבל טאץ' ספציפי לפי הלקוח

6. מוצרים שברעיון הבסיסי שלהם מוטמעת אפשרות פתוחה המזמינה את הלקוח, המשתמש, להתערב בנראות ולתת מאופיו שלו

# data[].attributes.attachment_link.title
Freitag Bag High Resolution Stock Photography and Images - Alamy

# data[].attributes.attachment_link.description
Find the perfect freitag bag stock photo. Huge collection, amazing choice, 100+ million high quality, affordable RF and RM images. No need to register, buy now!

# data[].attributes.attachment_link.readable_text
It's hard to believe with the endless columns of trucks out there on the transport routes, but used truck tarps aren't just lying around on the street. And especially not the really good ones. Sourcing raw materials for FREITAG may not be Glencore but it is definitely hardcore. To ensure that our 250 F-Workers always have something to do and to eat, our five tarp buyers - also known as truck spotters - have to find and bring back approximately 800 tons of tarps to Nœrd each year. To accomplish this, the truck spotters are on the phone non-stop, or prowling around the truck stops of Europe to hunt down the best tarps in the hottest colors from trucks, truckers and shipping companies. Once they arrive at the F-actory, the tarps are given an ID for traceability and their constituents tested so that we can guarantee the safety of our products.

# data[].attributes.attachment_link.description
It's hard to believe with the endless columns of trucks out there on the transport routes, but used truck tarps aren't just lying around on the street. And especially not the really good ones. Sourcing raw materials for FREITAG may not be Glencore but it is definitely hardcore.

# data[].attributes.headline
Uniqueness: fashion design in a unique time

# data[].attributes.subject
Uniqueness: fashion design in a unique time

# data[].attributes.attachment_link.readable_text
Rosy-hued shells of organza encase the wearer of these garments by Rhode Island School of Design (RISD) graduate Violet Zhou, which explore different states of mind experienced during personal struggles.

Inspired by her own personal experiences and "emotional turbulences", Zhou sought to translate certain feelings into tangible products.

Her fashion collection, titled Within, comprises six looks, each representing a different stage in the process of going through and overcoming various emotional and mental challenges.

These include angry, weighed-down, wounded, sinking, numb and emerging.

Designed to create a sense of "confinement", many of the pieces literally seal their wearer inside the garment with an outer layer of fabric.

Each look progresses onto the next, until finally "emerging" from the turmoil into a lighter state of mind, where the wearer physically breaks free from the material casing.

"I wanted it to look like the model is vacuum-sealed in between two plastic sheets, with her silhouette protruding from the flat sheets and the rims of the sheets extending beyond her body," Zhou explained. "I wanted a sense of helplessness and paralysis to seep through."

The RISD graduate opted for translucent fabrics like gauze, chiffon and organza as she felt they granted a "sensuality" to the garments.

"These materials also allow the collection to play with the tension between visibility and inaccessibility," she added.

In order for the designs to be able to stand up on their own, Zhou chose a material called stiff polyester organdy, as it is both see-through and stuff enough to be self-standing.

She combined this with a millinery material called sinamay - a loosely woven straw fabric that can be shaped with moisture and heat.

Categorised by the designer as "interactive sculptures" as opposed to functional garments, the designs don't take comfort or utility into consideration.

To make each look, Zhou enlisted the help of some friends to create a duct tape form of her entire body, before stuffing it with second-hand Poly-Fil. She then wrapped pieces of wetted sinamay around this life-size body cast and applied fabric stiffener.

After this, she cut the sinamay material along the back of the structure and pulled it away from its stuffing, leaving the outer human-shaped casing.

The first look, called Angry, features a series of spikes pointed inwards towards the wearer. These were made from semi-transparent, frosted polyurethane, which Zhou cut into circles and rolled into cones.

She used red organza and yarn to add various blood-coloured accents to these lightweight spikes, before hand-stitching them onto the misshapen shell made from pink-hued organdy.

Jessan Macatangay makes fashion collection from drapery and chair frames

"Anger is an edged emotion, and while it can be explosive, I wanted to depict the more oppressed version of it as if someone is trying to hold back the rage," Zhou told Dezeen.

"We may cause harm to others when we let anger take over, but the person who is hurt the most is ourselves, hence the many spikes pointing towards the wearer."

"Like all other looks in this collection, the wearer is sealed off from the external world by a translucent shell," she added. "My intention is that the translucency would make the viewers even more aware of the distance between the external world and the wearer."

"The audience can glance through the barriers to vaguely see all the spikes and their red tips, but they will never see what it actually is like on the inside, nor will they know how the wearer sees through this garment and how the spikes feel on her skin."

In the second Weighed-Down design, a "ghostly" human-like figure is attached to the wearer's bodysuit, hanging from one side of their body.

As Zhou explains, this fabric figure represents "the other self within" who is an invisible weight that drags the person down.

For the third look, Wounded, Zhou wanted to create a "physical manifestation of emotional wounds", which she embodied in a nude bodysuit worn under the organza shell featuring red organza appliqués.

As Zhou told Dezeen, the locations of these "wounds" on the garment were deliberately chosen according to her own experiences. There is also a "bleeding" element positioned under the crotch, which alludes to the pain - both physical and emotional - that is associated with bodies that menstruate.

The fourth look represents a "sinking" feeling, which she represented using lightweight fabric to emulate the motion of slowly drifting downwards.

The fifth look, titled Numb, places a focus on hands and their ability to convey a sense of fear or stress, particularly when covering the face.

Zhou made two bright red, life-size resin casts of her own hands that incorporate shreds of organza fabric. She attached this to a wire structure that was used to secure them onto the model's head.

The sixth and final look, Emerging, depicts the wearer physically coming out of her fabric shell. It is the only look in the collection that shows parts of the wearer's skin other than the feet.

Zhou took inspiration from both Chinese photographer Ren Hang, who works almost exclusively with portraits and bodies, and French-based, Chinese-born fashion designer Yiqing Yin for the graduate collection.

Yin's Spring/Summer 2013 collection, called Sur le Fil, and Fall/Winter 2012 series, titled Spring of Nüva, particularly resonated with her - both address themes of the human body and its internal organs.

"I was so struck by the fluidity of the lines in the garments and the sensuality of the silhouettes - how they are crude and delicate, hard like bones but soft like hair at the same time," said the designer.

Central Saint Martins graduate Jessan Macatangay had a similar concept for his fashion collection, titled Finding Beauty and Power in Struggle, which he made using swathes of lycra jersey and silk satin and deconstructed chairs.

Comprised of five different looks, the collection aims to symbolise how people carry the weight of personal struggles. Each garment becomes progressively lighter and less bulky as they gradually include fewer furniture elements.

# data[].attributes.attachment_link.title
Violet Zhou translates mental states into ethereal fashion collection

# data[].attributes.attachment_link.description
Rosy-hued shells of organza encase the wearer of these garments by Rhode Island School of Design (RISD) graduate Violet Zhou, which explore different states of mind experienced during personal struggles.

# data[].attributes.headline
Uniqueness: fashion design in a unique time

# data[].attributes.subject
Uniqueness: fashion design in a unique time

# data[].attributes.attachment_link.readable_text
Textile artist Daisy May Collingridge has designed a family of fleshy, fabric bodysuits as "a joyful representation of the human form".

Dubbed The Squishies, the bodysuits feature overlapping layers of skin-like rolls that have been hand-stitched from jersey and cotton.

Fillings made of wadding, beanbag beans and sand are used to provide different weights and textures.

Each piece looks like a playful take on the bodies seen in muscular anatomy diagrams. Some boast shades of muted pink, purple and blue, while others feature more vibrant tones of orange and yellow paired with beige hues.

"For me the suits are a joyful representation of the human form, but with fantasy elements" Collingridge told Dezeen. "They are bodily, they celebrate flesh, form and movement."

"Instead of sculpting with stone or marble, sculpting with fabric is more tactile, more life-like," she added. "Fabric is soft, warm and will not last forever, just like people."

The Central Saint Martins graduate designed the suits as a celebration of the human body, in all its forms.

"They neither promote or demote one body type," she said. "The idea that there even is an 'ideal body' is ridiculous."

"They, just like people, have their own individual characters and, just like people, some people will be repelled by them whilst others will adore them."

Collingridge also gives each suit its own name - the current family consists of Burt, Hilary, Clive and Dave - and imagines each one as having its own character.

The sculptures can be displayed as static items or can be worn for "a more lifelike performance". Designed to respond to movement, she envisions them being used in dance or film.

Each bespoke piece took around three months to create, and is the result of combining free machine quilting with the trapunto technique, mixed with some "crazy patchwork".

Free machine quilting sees two or more layers of fabric sandwiched together with stitching, while trapunto requires adding additional batting or stuffing from the underside to create a rounder effect.

Each bodysuit is composed of numerous elements of jersey stretched over shaped wadding, and hand-stitched onto base garments such as trousers, jackets or gloves.

"In reality the technique probably cannot be defined as quilting, but the idea of layering and relief patterns are fundamental to the process," the designer explained.

"I love the patterns you make by the change in the relief of the fabric," she added. "However, there is a limit to how thick you can make a quilt - or dress - before it physically cannot get under the sewing machine."

While Collingridge "subconsciously" takes design cues from high school education, where she studied artists such as Jenny Saville and Louise Bourgeois, she told Dezeen that her work is also a product of her childhood, having grown up in a family of doctors, nurses and scientists.

"The human body has always been a subject of fascination for me," she explained. "My mum took me to see Body World, by Gunther von Hagens, which showed the human - and other animals - in all their biological, anatomical glory preserved by plastination."

Karoline Vitto's garments accentuate the fat rolls women are told to hide

"Combine these scientific dinner table conversations with a mum who can turn her hand to all the crafts: she can crochet, silk paint, dye, toy-make, quilt, embroider and I am pretty sure she has done upholstery too," she said.

"This combination of practicality and creativity seems to have irresistibly steered my work to what is."

Royal College of Art graduate, Karoline Vitto, also wanted to promote a positive body image with her The Body as Material collection, which features seven cloth and metal-wire garments that accentuate the rolls and curves of the female form.

Vitto wanted the garments to encourage women to look at areas that they consider to be flaws more kindly.

Photography is by Daisy May Collingridge, unless otherwise stated.

# data[].attributes.attachment_link.title
Daisy May Collingridge's fleshy suits quash the idea of an ideal body type

# data[].attributes.attachment_link.description
Textile artist Daisy May Collingridge has designed a family of fleshy, fabric bodysuits as "a joyful representation of the human form". Dubbed The Squishies, the bodysuits feature overlapping layers of skin-like rolls that have been hand-stitched from jersey and cotton. Fillings made of wadding, beanbag beans and sand are used to provide different weights and textures.

# data[].attributes.attachment_link.readable_text
Cabinets of curiosities (also known in German loanwords as Kunstkabinett, Kunstkammer or Wunderkammer; also Cabinets of Wonder, and wonder-rooms) were collections of notable objects. The term originally described a room rather than a piece of furniture. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. The classic cabinet of curiosities emerged in the sixteenth century, although more rudimentary collections had existed earlier. In addition to the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.

Cabinets of curiosities served not only as collections to reflect the particular curiosities of their curators but as social devices to establish and uphold rank in society. There are said to be two main types of cabinets. As R. J. W. Evans notes, there could be "the princely cabinet, serving a largely representational function, and dominated by aesthetic concerns and a marked predilection for the exotic," or the less grandiose, "the more modest collection of the humanist scholar or virtuoso, which served more practical and scientific purposes." Evans goes on to explain that "no clear distinction existed between the two categories: all collecting was marked by curiosity, shading into credulity, and by some sort of universal underlying design".

In addition to cabinets of curiosity serving as an establisher of socioeconomic status for its curator, these cabinets served as entertainment, as particularly illustrated by the proceedings of the Royal Society, whose early meetings were often a sort of open floor to any Fellow to exhibit the findings his curiosities led him to. However purely educational or investigative these exhibitions may sound, it is important to note that the Fellows in this period supported the idea of "learned entertainment," or the alignment of learning with entertainment. This was not unusual, as the Royal Society had an earlier history of a love of the marvellous. This love was often exploited by eighteenth-century natural philosophers to secure the attention of their audience during their exhibitions.

Places of exhibitions of and places of new societies that promoted natural knowledge also seemed to culture the idea of perfect civility. Some scholars propose that this was "a reaction against the dogmatism and enthusiasm of the English Civil War and Interregum [sic]." This move to politeness put bars on how one should behave and interact socially, which enabled the distinguishing of the polite from the supposed common or more vulgar members of society. Exhibitions of curiosities (as they were typically odd and foreign marvels) attracted a wide, more general audience, which "[rendered] them more suitable subjects of polite discourse at the Society." A subject was considered less suitable for polite discourse if the curiosity being displayed was accompanied by too much other material evidence, as it allowed for less conjecture and exploration of ideas regarding the displayed curiosity. Because of this, many displays simply included a concise description of the phenomena and avoided any mention of explanation for the phenomena. Quentin Skinner describes the early Royal Society as "something much more like a gentleman's club," an idea supported by John Evelyn, who depicts the Royal Society as "an Assembly of many honorable Gentlemen, who meete inoffensively together under his Majesty's Royal Cognizance; and to entertaine themselves ingenously, whilst their other domestique avocations or publique business deprives them of being always in the company of learned men and that they cannot dwell forever in the Universities."

The earliest pictorial record of a natural history cabinet is the engraving in Ferrante Imperato's Dell'Historia Naturale (Naples 1599) ( illustration, left). It serves to authenticate its author's credibility as a source of natural history information, in showing his open bookcases at the right, in which many volumes are stored lying down and stacked, in the medieval fashion, or with their spines upward, to protect the pages from dust. Some of the volumes doubtless represent his herbarium. Every surface of the vaulted ceiling is occupied with preserved fishes, stuffed mammals and curious shells, with a stuffed crocodile suspended in the centre. Examples of corals stand on the bookcases. At the left, the room is fitted out like a studiolo with a range of built-in cabinets whose fronts can be unlocked and let down to reveal intricately fitted nests of pigeonholes forming architectural units, filled with small mineral specimens. Above them, stuffed birds stand against panels inlaid with square polished stone samples, doubtless marbles and jaspers or fitted with pigeonhole compartments for specimens. Below them, a range of cupboards contain specimen boxes and covered jars.

In 1587 Gabriel Kaltemarckt advised Christian I of Saxony that three types of item were indispensable in forming a "Kunstkammer" or art collection: firstly sculptures and paintings; secondly "curious items from home or abroad"; and thirdly "antlers, horns, claws, feathers and other things belonging to strange and curious animals". When Albrecht Dürer visited the Netherlands in 1521, apart from artworks he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins and a wooden weapon from the East Indies. The highly characteristic range of interests represented in Frans II Francken's painting of 1636 ( illustration, above) shows paintings on the wall that range from landscapes, including a moonlit scene-a genre in itself-to a portrait and a religious picture (the Adoration of the Magi) intermixed with preserved tropical marine fish and a string of carved beads, most likely amber, which is both precious and a natural curiosity. Sculpture both classical and secular (the sacrificing Libera, a Roman fertility goddess) on the one hand and modern and religious ( Christ at the Column) are represented, while on the table are ranged, among the exotic shells (including some tropical ones and a shark's tooth): portrait miniatures, gem-stones mounted with pearls in a curious quatrefoil box, a set of sepia chiaroscuro woodcuts or drawings, and a small still-life painting leaning against a flower-piece, coins and medals-presumably Greek and Roman-and Roman terracotta oil-lamps, a Chinese-style brass lock, curious flasks, and a blue-and-white Ming porcelain bowl.

The Kunstkammer of Rudolf II, Holy Roman Emperor (ruled 1576-1612), housed in the Hradschin at Prague, was unrivalled north of the Alps; it provided a solace and retreat for contemplation that also served to demonstrate his imperial magnificence and power in symbolic arrangement of their display, ceremoniously presented to visiting diplomats and magnates. Rudolf's uncle, Ferdinand II, Archduke of Austria, also had a collection, organized by his treasurer, Leopold Heyperger, which put special emphasis on paintings of people with interesting deformities, which remains largely intact as the Chamber of Art and Curiosities at Ambras Castle in Austria. "The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron's control of the world through its indoor, microscopic reproduction." Of Charles I of England's collection, Peter Thomas states succinctly, "The Kunstkabinett itself was a form of propaganda.".

Two of the most famously described seventeenth-century cabinets were those of Ole Worm, known as Olaus Wormius (1588-1654) ( illustration, above right), and Athanasius Kircher (1602-1680). These seventeenth-century cabinets were filled with preserved animals, horns, tusks, skeletons, minerals, as well as other interesting man-made objects: sculptures wondrously old, wondrously fine or wondrously small; clockwork automata; ethnographic specimens from exotic locations. Often they would contain a mix of fact and fiction, including apparently mythical creatures. Worm's collection contained, for example, what he thought was a Scythian Lamb, a woolly fern thought to be a plant/sheep fabulous creature. However he was also responsible for identifying the narwhal's tusk as coming from a whale rather than a unicorn, as most owners of these believed. The specimens displayed were often collected during exploring expeditions and trading voyages.

In the second half of the 18th century, Belsazar Hacquet (c. 1735-1815) operated in Ljubljana, then the capital of Carniola, a natural history cabinet ( German: Naturalienkabinet) that was appreciated throughout Europe and was visited by the highest nobility, including the Holy Roman Emperor, Joseph II, the Russian grand duke Paul and Pope Pius VI, as well as by famous naturalists, such as Francesco Griselini and Franz Benedikt Hermann. It included a number of minerals, including specimens of mercury from the Idrija mine, a herbarium vivum with over 4,000 specimens of Carniolan and foreign plants, a smaller number of animal specimens, a natural history and medical library, and an anatomical theatre.

Cabinets of curiosities would often serve scientific advancement when images of their contents were published. The catalog of Worm's collection, published as the Museum Wormianum (1655), used the collection of artifacts as a starting point for Worm's speculations on philosophy, science, natural history, and more.

Cabinets of curiosities were limited to those who could afford to create and maintain them. Many monarchs, in particular, developed large collections. A rather under-used example, stronger in art than other areas, was the Studiolo of Francesco I, the first Medici Grand-Duke of Tuscany. Frederick III of Denmark, who added Worm's collection to his own after Worm's death, was another such monarch. A third example is the Kunstkamera founded by Peter the Great in Saint Petersburg in 1714. Many items were bought in Amsterdam from Albertus Seba and Frederik Ruysch. The fabulous Habsburg Imperial collection included important Aztec artifacts, including the feather head-dress or crown of Montezuma now in the Museum of Ethnology, Vienna.

Similar collections on a smaller scale were the complex Kunstschränke produced in the early seventeenth century by the Augsburg merchant, diplomat and collector Philipp Hainhofer. These were cabinets in the sense of pieces of furniture, made from all imaginable exotic and expensive materials and filled with contents and ornamental details intended to reflect the entire cosmos on a miniature scale. The best preserved example is the one given by the city of Augsburg to King Gustavus Adolphus of Sweden in 1632, which is kept in the Museum Gustavianum in Uppsala. The curio cabinet, as a modern single piece of furniture, is a version of the grander historical examples.

The juxtaposition of such disparate objects, according to Horst Bredekamp's analysis (Bredekamp 1995), encouraged comparisons, finding analogies and parallels and favoured the cultural change from a world viewed as static to a dynamic view of endlessly transforming natural history and a historical perspective that led in the seventeenth century to the germs of a scientific view of reality.

A late example of the juxtaposition of natural materials with richly worked artifice is provided by the " Green Vaults" formed by Augustus the Strong in Dresden to display his chamber of wonders. The "Enlightenment Gallery" in the British Museum, installed in the former "Kings Library" room in 2003 to celebrate the 250th anniversary of the museum, aims to recreate the abundance and diversity that still characterized museums in the mid-eighteenth century, mixing shells, rock samples and botanical specimens with a great variety of artworks and other man-made objects from all over the world.

In seventeenth-century parlance, both French and English, a cabinet came to signify a collection of works of art, which might still also include an assembly objects of or curiosities, such as a would find intellectually stimulating. In 1714, Michael Bernhard Valentini published an early museological work, Museum Museorum, an account of the cabinets known to him with catalogues of their contents.

Some strands of the early universal collections, the bizarre or freakish biological specimens, whether genuine or fake, and the more exotic historical objects, could find a home in commercial freak shows and sideshows.

In 1671, when visiting Thomas Browne (1605-82), the courier John Evelyn remarked,

His whole house and garden is a paradise and Cabinet of rarities and that of the best collection, amongst Medails, books, Plants, natural things.

Late in his life Browne parodied the rising trend of collecting curiosities in his tract Musaeum Clausum an inventory of dubious, rumoured and non-existent books, pictures and objects.

Sir Hans Sloane (1660-1753) an English physician, member of the Royal Society and the Royal College of Physicians, and the founder of the British Museum in London began sporadically collecting plants in England and France while studying medicine. In 1687, the Duke of Albemarle offered Sloane a position as personal physician to the West Indies fleet at Jamaica. He accepted and spent fifteen months collecting and cataloguing the native plants, animals, and artificial curiosities (e.g. cultural artifacts of native and enslaved African populations) of Jamaica. This became the basis for his two volume work, Natural History of Jamaica, published in 1707 and 1725. Sloane returned to England in 1689 with over eight hundred specimens of plants, which were live or mounted on heavy paper in an eight-volume herbarium. He also attempted to bring back live animals (e.g., snakes, an alligator, and an iguana) but they all died before reaching England.

Sloane meticulously cataloged and created extensive records for most of the specimens and objects in his collection. He also began to acquire other collections by gift or purchase. Herman Boerhaave gave him four volumes of plants from Boerhaave's gardens at Leiden. William Charleton, in a bequest in 1702, gave Sloane numerous books of birds, fish, flowers, and shells and his miscellaneous museum consisting of curiosities, miniatures, insects, medals, animals, minerals, precious stones and curiosities in amber. Sloane purchased Leonard Plukenet's collection in 1710. It consisted of twenty-three volumes with over 8,000 plants from Africa, India, Japan and China. Mary Somerset, Duchess of Beaufort (1630-1715), left him a twelve-volume herbarium from her gardens at Chelsea and Badminton upon her death in 1714. Reverend Adam Buddle gave Sloane thirteen volumes of British plants. In 1716, Sloane purchased Englebert Kaempfer's volume of Japanese plants and James Petiver's virtual museum of approximately one hundred volumes of plants from Europe, North America, Africa, the Near East, India, and the Orient. Mark Catesby gave him plants from North America and the West Indies from an expedition funded by Sloane. Philip Miller gave him twelve volumes of plants grown from the Chelsea Physic Garden.

Sloane acquired approximately three hundred and fifty artificial curiosities from North American Indians, Eskimos, South America, the Lapland, Siberia, East Indies, and the West Indies, including nine items from Jamaica. "These ethnological artifacts were important because they established a field of collection for the British Museum that was to increase greatly with the explorations of Captain James Cook in Oceania and Australia and the rapid expansion of the British Empire." Upon his death in 1753, Sloane bequeathed his sizable collection of 337 volumes to England for £20,000. In 1759, George II's royal library was added to Sloane's collection to form the foundation of the British Museum.

John Tradescant the elder (circa 1570s-1638) was a gardener, naturalist, and botanist in the employ of the Duke of Buckingham. He collected plants, bulbs, flowers, vines, berries, and fruit trees from Russia, the Levant, Algiers, France, Bermuda, the Caribbean, and the East Indies. His son, John Tradescant the younger (1608-1662) traveled to Virginia in 1637 and collected flowers, plants, shells, an Indian deerskin mantle believed to have belonged to Powhatan, father of Pocahontas. Father and son, in addition to botanical specimens, collected zoological (e.g., the dodo from Mauritius, the upper jaw of a walrus, and armadillos), artificial curiosities (e.g., wampum belts, portraits, lathe turned ivory, weapons, costumes, Oriental footwear and carved alabaster panels) and rarities (e.g., a mermaid's hand, a dragon's egg, two feathers of a phoenix's tail, a piece of the True Cross, and a vial of blood that rained in the Isle of Wight). By the 1630s, the Tradescants displayed their eclectic collection at their residence in South Lambeth. Tradescant's Ark, as it came to be known, was the earliest major cabinet of curiosity in England and open to the public for a small entrance fee.

Elias Ashmole (1617-1692) was a lawyer, chemist, antiquarian, Freemason, and a member of the Royal Society with a keen interest in astrology, alchemy, and botany. Ashmole was also a neighbor of the Tradescants in Lambeth. He financed the publication of Musaeum Tradescantianum, a catalogue of the Ark collection in 1656. Ashmole, a collector in his own right, acquired the Tradescant Ark in 1659 and added it to his collection of astrological, medical, and historical manuscripts. In 1675, he donated his library and collection and the Tradescant collection to the University of Oxford, provided that a suitable building be provided to house the collection. Ashmole's donation formed the foundation of the Ashmolean Museum at Oxford.

Cabinets of Curiosities can now be found at Snowshill Manor and Wallington Hall. The concept has been reinterpreted at The Viktor Wynd Museum of Curiosities, Fine Art & Natural History.

United States

Thomas Dent Mutter (1811-1859) was an early American pioneer of reconstructive plastic surgery. His specialty was repairing congenital anomalies, cleft lip and palates, and club foot. He also collected medical oddities, tumors, anatomical and pathological specimens, wet and dry preparations, wax models, plaster casts, and illustrations of medical deformities. This collection began as a teaching tool for young physicians. Just prior to Mütter's death in 1859, he donated 1,344 items to the American College of Physicians in Philadelphia, along with a $30,000 endowment for the maintenance and expansion of his museum. Mütter's collection was added to ninety-two pathological specimens collected by Doctor Isaac Parrish between 1849 and 1852. The Mütter Museum began to collect antique medical equipment in 1871, including Benjamin Rush's medical chest and Florence Nightingale's sewing kit. In 1874 the museum acquired one hundred human skulls from Austrian anatomist and phrenologist, Joseph Hyrtl (1810-1894); a nineteenth-century corpse, dubbed the "soap lady"; the conjoined liver and death cast of Chang and Eng Bunker, the Siamese twins; and in 1893, Grover Cleveland's jaw tumor. The Mütter Museum is an excellent example of a nineteenth-century grotesque cabinet of medical curiosities.

P. T. Barnum established Barnum's American Museum on five floors in New York, "perpetuating into the 1860s the Wunderkammer tradition of curiosities for gullible, often slow-moving throngs-Barnum's famously sly but effective method of crowd control was to post a sign, "THIS WAY TO THE EGRESS!" at the exit door".

In 1908, New York businessmen formed the Hobby Club, a dining club limited to 50 men, in order to showcase their "cabinets of wonder" and their selected collections. These included literary specimens and incunable; antiquities such as ancient armour; precious stones and geological items of interest. Annual formal dinners would be used to open the various collections up to inspection for the other members of the club.

The Houston Museum of Natural Science houses a hands-on Cabinet of Curiosities, complete with taxidermied crocodile embedded in the ceiling a la Ferrante Imperato's Dell'Historia Naturale. In Los Angeles, the modern-day Museum of Jurassic Technology anachronistically seeks to recreate the sense of wonder that the old cabinets of curiosity once aroused. In Spring Green, Wisconsin, the house and museum of Alex Jordan, known as House on the Rock, can also be interpreted as a modern day curiosity cabinet, especially in the collection and display of automatons. In Bristol, Rhode Island, Musée Patamécanique is presented as a hybrid between an automaton theater and a cabinet of curiosities and contains works representing the field of Patamechanics, an artistic practice and area of study chiefly inspired by Pataphysics. The idea of a cabinet of curiosities has also appeared in recent publications and performances. For example, magazine is a quarterly magazine that juxtaposes apparently unrelated cultural artifacts and phenomena to show their interconnectedness in ways that encourage curiosity about the world. The Italian cultural association Wunderkamern uses the theme of historical cabinets of curiosities to explore how "amazement" is manifested within today's artistic discourse. The May of 2008, the University of Leeds Fine Art BA programme hosted a show called "Wunder Kammer", the culmination of research and practice from students, which allowed viewers to encounter work from across all disciplines, ranging from intimate installation to thought-provoking video and highly skilled drawing, punctuated by live performances.

Several internet bloggers describe their sites as a wunderkammern either because they are primarily made up of links to things that are interesting, or because they inspire wonder in a similar manner to the original wunderkammern (see External Links, below). The researcher Robert Gehl describes such internet video sites as YouTube as modern-day wunderkammern, although in danger of being refined into capitalist institutions "just as professionalized curators refined Wunderkammers into the modern museum in the 18th century."

1. ^ Impey, MacGregor, Oliver, Arthur. The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe. Oxford University Press. p. 737.

2. ^ Studiolo: the small retreats in the palaces of Urbino and Gubbio were inlaid with intarsia that figured just such fitted cabinets with feigned lattice doors and shelves filled with scientific instruments, books and small sculptures in trompe-l'oeil perspective. The Gubbio studiolo has been reassembled at the Metropolitan Museum; the Urbino studiolo remains in situ.

3. Sixteenth-century cabinet-makers serving the luxury trades of ^ Florence and Antwerp were beginning to produce moveable cabinets with similar architectural interior fittings, which could be set upon a carpet-covered table or on a purpose-built stand.

4. A Hyatt Mayor, ^ Prints and People, Metropolitan Museum of Art/Princeton, 1971, nos 48.ISBN 0-691-00326-2

5. Thomas DaCosta Kaufmann, "Remarks on the Collections of Rudolf II: The Kunstkammer as a Form of Representatio", ^ Art Journal 38.1 (Autumn 1978:22-28).

6. Francesaco Fiorani, reviewing Bredecamp 1995 in ^ Renaissance Quarterly 51.1 (Spring 1998:268-270) p 268.

7. ^ Jezernik, Božidar (2009). "Ljubljanske "knjige sveta" od Auerspergov do Hacqueta" [Ljubljana's "Books of the World" - from the Auerspergs to Hacquet]. Etnolog (in Slovenian and English). 19=70: 23-33. ISSN 0354-0316. COBISS 1242502. Archived from the original on 2017-08-18.

8. ^ Diary of John Evelyn entry dated 17th October 1671

9. Alexander, Edward P. ^ Museum Masters: Their Museums and Their Influence, (Walnut Creek, London, New Delhi: AltaMira Press, 1995), 20-42; Clark, Jack A. " Sir Hans Sloane and Abbé Jean Paul Bignon: Notes on Collection Building in the Eighteenth Century," in The Library Quarterly, Vol. 50, No. 4 (October 1980), 475-482; de Beer, G. R. "Sir Hans Sloane, F.R.S 1660-1753," in Notes and Records of the Royal Society of London, Vol. 10, No. 2 (April 1953), 81-84; and Kriz, Kay Dian. "Curiosities, Commodities, and Transplanted Bodies in Hans Sloane's "Natural History of Jamaica", in The William and Mary Quarterly, Third Series, Vol. 57, No. 1 (January 2000), 35-78.

10. Alexander, Edward P. ^ Museum Masters: Their Museums and Their Influence, (Walnut Creek, London, New Delhi: AltaMira Press, 1995), 20-42; de Beer, G. R. "Sir Hans Sloane, F.R.S 1660-1753," in Notes and Records of the Royal Society of London, Vol. 10, No. 2 (April 1953), 81-84; Gray, Basil. "Sloane and the Kaempfer Collection," in The British Museum Quarterly, Vol. 18, No. 1, Sir Hans Sloane (March 1953), 20-23; and "The Sloane Collection of Manuscripts" in The British Museum Quarterly, Vol. 18, No. 1, Sir Hans Sloane (March 1953), 6-10.

11. ^ Ivins, Jr., William M. "The Tradescant Collection", in The Metropolitan Museum of Art Bulletin, Vol. 20, No. 8 (August 1925), 194-197; Josten, C.H. Elias Ashmole (1617-1692): His Autobiographical and Historical Notes, His Correspondence, and Other Contemporary Sources Relating to His Life and Work: Texts, 1661-1672, (Oxford: Clarendon, 1967); Leith-Ross, Prudence. The John Tradescants: Gardeners to the Rose and Lily Queen, (London: Peter Owen, 2006); MacGregor, Arthur. Tradescant's Rarities: Essays on the Foundation of the Ashmolean Museum 1683; with a Catalogue of the Surviving Early Collections, (Oxford: Oxford University Press, 1983); Potter, Jennifer. Strange Blooms: The Curious Lives and Adventures of the John Tradescants, (London: Atlantic, 2006)

12. ^ Wainwright, Oliver (2014-10-28). "A two-headed lamb and ancient dildos: the UK's strangest new museum". the Guardian.

13. ^ Gehl, Robert W. (2009). "Youtube As Archive: Who Will Curate This Digital Wunderkammer?". International Journal of Cultural Studies. 12 (1): 43-60. doi:10.1177/1367877908098854.

Under the Sign: John Bargrave as Collector, Traveler, and Witness, Stephen Bann, Michigan, 1995

The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe, ed. Oliver Impey and Arthur MacGregor, 2001, paperback, 431 pages, ISBN 1-84232-132-3

Cabinets for the curious: looking back at early English museums, Ken Arnold, Ashgate, 2006, ISBN 0-7546-0506-X.

Mr. Wilson's Cabinet Of Wonder: Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology, Lawrence Weschler, 1996, trade paperback, 192 pages, ISBN 0-679-76489-5 (see website link above)

The Cabinet of Curiosities (novel), Douglas Preston and Lincoln Child, Warner Books, 2003, paperback, ISBN 0-446-61123-9.

Helmar Schramm et al. (ed.). Collection, Laboratory, Theater. Scenes of Knowledge in the 17th Century, Berlin/New York 2005, ISBN 978-3-11-017736-7

The Lure of Antiquity and the Cult of the Machine: The Kunstkammer and the Evolution of Nature, Art and Technology Horst Bredekamp (Allison Brown, translator) (Princeton: Marcus Weiner) 1995.

Steven Lubar, "Cabinets of Curiosity: What they were, why they disappeared, and why they're so popular now"

Historic cabinets

Modern "cabinets"

# data[].attributes.attachment_link.description
Cabinets of curiosities (also known in German loanwords as Kunstkabinett, Kunstkammer or Wunderkammer; also Cabinets of Wonder, and wonder-rooms) were collections of notable objects. The term originally described a room rather than a piece of furniture.

# data[].attributes.headline
The Crystal               pre-Columbian Skull

# data[].attributes.subject
The Crystal               pre-Columbian Skull

# data[].attributes.attachment_link.description
Many crystal skulls are claimed to be pre-Columbian, usually attributed to the Aztec or Maya civilizations. Mesoamerican art has numerous representations of skulls, but none of the skulls in museum collections come from documented excavations.

# data[].attributes.attachment_link.readable_text
For the Love of God is a sculpture by artist Damien Hirst produced in 2007. It consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond. The skull's teeth are original, and were purchased by Hirst in London. The artwork is a memento mori, or reminder of the mortality of the viewer.

In 2007, art historian Rudi Fuchs described the work as "out of this world, celestial almost. It proclaims victory over decay. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself." Costing £12 million to produce, the work was placed on its inaugural display at the White Cube gallery in London in an exhibition Beyond Belief, with an asking price of £50 million. This would have been the highest price ever paid for a single work by a living artist. In January 2022, Hirst stated that he still co-owned the sculpture, and that it was in storage in London.

The base for the work is a human skull bought in a shop in Islington. It is thought to be that of a 35-year-old European who lived between 1720 and 1810. The work's title was supposedly inspired by Hirst's mother, who once asked, "For the love of God, what are you going to do next?"

Designed and sculpted by Jack du Rose and manufactured by the Piccadilly jewellers Bentley & Skinner, 8,601 flawless pavé-laid diamonds, weighing in total 1,106.18 carats (221.236 g), over a platinum cast, cover the entirety of the skull. At the centre of the forehead lies a pear-shaped pink diamond, the centrepiece of the work. All diamonds used for the work are said to be ethically sourced.

Hirst stated the idea for the work came from an Aztec turquoise skull at the British Museum.

On 1 June 2007, For the Love of God went on display in an illuminated glass case in a darkened room on the top floor of the White Cube gallery in St James's, London with heavy security. It was reported on 11 June 2007 that the singer George Michael and his partner Kenny Goss were interested in purchasing the piece for around £50 million.

During November-December 2008, Hirst exhibited the diamond skull at the historic Rijksmuseum in Amsterdam, the Netherlands, amidst public controversy. The skull was exhibited next to an exhibition of paintings from the collection of the museum that were selected and curated by Hirst. According to Wim Pijbes, the museum director, there wasn't controversy amongst the board members. He explained that the exhibition "will attract people-and give a new aspect to the image of the Rijksmuseum as well. It boosts our image. Of course, we do the Old Masters but we are not a 'yesterday institution'. It's for now. And Damien Hirst shows this in a very strong way." A Belgian journalist in response remarked how the installation of the diamond skull at the Rijks was "an intentionally quite controversial project".

For the Love of God was also displayed in the Palazzo Vecchio in Florence, Italy, and at Tate Modern, London, between 4 April 2012 and 25 June 2012.

The work was displayed at Hirst's first solo exhibition in the Middle East, at the Relics Exhibition of Doha, Qatar from 10 October 2013 to 22 January 2014.

Between 16 September and 15 November 2015 the skull was displayed at Astrup Fearnley Museum of Modern Art in Oslo, Norway.

Between the 26th October 2023 and the 28th of January 2024 the skull is displayed at the Museum of Urban and Contemporary Art in Munich, Germany.

Damien Hirst, the creator of the work, was part of the consortium which bought it.

Hirst said that the work was sold on 30 August 2007, for £50 million, to an anonymous consortium. Hirst claimed he had sold it for the full asking price, in cash, leaving no paper trail. The consortium that bought the piece included Hirst himself.

In the 6 February 2012 issue of magazine, Hirst elaborated, in his "10 Questions" interview: "In the end I covered my fabrication and a few other costs by selling a third of it to an investment group, who are anonymous."

In January 2022, Hirst stated the sculpture was still owned by him, along with the White Cube gallery and undisclosed investors, and was in storage in a Hatton Garden vault in London. took this to mean that the 2007 sale did not actually happen.

The media coverage of the "sale" of the diamond skull was extensive and led some to question to what extent the announcement of the sale was some kind of media art, especially as the "sale" continues to be in question. This was further supported by the performative nature of the Sotheby's exhibition and auction of Hirst's artwork the following year.

In an article in The Guardian, Germaine Greer said, "Damien Hirst is a brand, because the art form of the 21st century is marketing. To develop so strong a brand on so conspicuously threadbare a rationale is hugely creative - revolutionary even."

Richard Dorment, art critic of The Daily Telegraph, wrote: "If anyone but Hirst had made this curious object, we would be struck by its vulgarity. It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend, little taste, and no knowledge of art. I can imagine it gracing the drawing room of some African dictator or Colombian drug baron. But not just anyone made it - Hirst did. Knowing this, we look at it in a different way and realise that in the most brutal, direct way possible, For the Love of God questions something about the morality of art and money."

Ralph Rugoff of the Hayward Gallery in London criticised the work as a mere decorative object, saying "It's not challenging or fresh. It's a decorative object which is not particularly well done."

The Australian art critic Robert Hughes described the skull as "a letdown unless you believe the unverifiable claims about its cash value, and are mesmerised by mere bling of rather secondary quality." Hughes added that "as a spectacle of transformation and terror, the sugar skulls sold on any Mexican street corner on the Day of the Dead are 10 times as vivid and, as a bonus, raise real issues about death and its relation to religious belief in a way that is genuinely democratic, not just a vicarious spectacle for money groupies such as Hirst and his admirers".

The performative nature of Hirst's work was later addressed in the exhibition at Tate Modern, "Pop Life: Art in a material world", which critic Ben Lewis found very offensive: "the gallery texts have the temerity to claim that the greed-fuelled auction sale was a work of performance art in itself. That's just the same as Stockhausen calling 9/11 a work of art."

In her 2020 book, Written in Bone, professor Sue Black criticised the artwork, writing that the work raised questions "about the ethics of being able to buy and sell the remains of our ancestors, irrespective of their antiquity." She also criticised the use of real human teeth, arguing that it violated the integrity of the original remains for art.

Spiritus Callidus #2 by John LeKay, 1993, crystal skull

In a 2007 article in The Times, artist John LeKay, a friend of Hirst's in the early 1990s, claimed the work was based on a skull covered with crystals which LeKay had made in 1993. LeKay said, "When I heard he was doing it, I felt like I was being punched in the gut. When I saw the image online, I felt that a part of me was in the piece. I was a bit shocked."

In June and July 2007 Polish artist Peter Fuss presented his work For the Laugh of God at the exhibitions in Gdańsk and London parodying Hirst's For the Love of God. The work was a plastic human skull covered in "artificial diamonds".

A photo of the work thrown out with rubbish bags outside the White Cube gallery was a spoof by artist Laura Keeble who created a replica skull with 6522 Swarovski crystals.

In 2008, the Gaelic-language publisher Ùr-sgeul published a short story by Maoilios Caimbeul, "An Claigeann aig Damien Hirst" ("Damian Hirst's Skull"), as a fictional response to the work of art. This in turn was followed in 2009 by a single performed by the Gaelic rock band, Na Gathan, "Claigeann Damien Hirst" ("Damian Hirst's Skull"), released by Ùr-sgeul, which was inspired by Caimbeul's work. The song was shortlisted in the Nòs-ùr contest for a new song in a Celtic language or Scots.

In December 2008 Hirst threatened to sue the artist Cartrain for copyright infringement. Cartrain had incorporated photos of For the Love of God into collages and sold them on the Internet.

In 2009, Spanish artist Eugenio Merino unveiled a piece entitled "4 The Love of Go(l)d", a giant sculpture, encased in glass, of Hirst shooting himself in the head. Merino, in fact an admirer of Hirst, intended the piece as a comment on the emphasis on money within the art world, and with Hirst in particular. "I thought that, given that he thinks so much about money, his next work could be that he shot himself", said Merino. "Like that the value of his work would increase dramatically ... Obviously, though, he would not be around to enjoy it."

In 2015, the band Rosie released a song called "For The Love of God", which contains lyrics written from the perspective of the jewelled skull. The song was featured in the rhythm video game The Metronomicon: Slay the Dance Floor.

The piece appears in the second episode of the American-Japanese animated television series , when it is possessed by a demon at the Metropolitan Museum of Art.

The skull appears in the music video of Simian Mobile Disco's song " Audacity of Huge", where the singer mentions owning a Damien Hirst telephone.

A diamond encrusted skull based on For the Love of God serves as the driving force in the video game 50 Cent: Blood on the Sand.

For the Love of God graces the cover art of Canadian rapper Tory Lanez's single "Diamonds", which he released on SoundCloud in 2017.

In issue #10 of the 2016 comic book series The Flintstones, a similarly gem-encrusted skull appears in an art gallery.

# data[].attributes.attachment_link.description
For the Love of God is a sculpture by artist Damien Hirst produced in 2007. It consists of a platinum cast of an 18th-century human skull encrusted with 8,601 flawless diamonds, including a pear-shaped pink diamond located in the forehead that is known as the Skull Star Diamond.

# data[].attributes.attachment_link.title
Top 10 | Beautiful and Expensive Imperial Egg of Russia from the House of Faberge

# data[].attributes.attachment_link.readable_text
Published on

Pictorial presentation at #DIS2014, Vancouver, Canada

http://dl.acm.org/citation.cfm?id=2598510.2602964&coll=DL&dl=ACM&CFID=394826875&CFTOKEN=96657591

1. 1. DIS 2014 | June 21st-25th | Vancouver, Canada GROWING TRACES ON OBJECTS OF DAILY USE A product design perspective for HCI Elisa Giaccardi . Elvin Karana . Holly Robbins . Patrizia D'Olivo Industrial Design Engineering, Delft University of Technology, The Netherlands MakingInteractions Source: Portraits of My Family by Camilla Catrambone

2. 2. MATERIAL TRACES in product design

3. 3. MakingInteractions Gold Wedding Ring by Torafu Architects

4. 4. MakingInteractions Evolving Narrative by Puma

5. 5. MakingInteractions Verderame by Odo Fioravanti

6. 6. MakingInteractions Underfall by Kristine Bjaadal

7. 7. MakingInteractions Beetle Infested Table by Hooker & Co.

8. 8. MakingInteractions Front by Droog Design

9. 9. MakingInteractions Do Scratch by Droog Design

10. 10. MakingInteractions Do Break by Droog Design

11. 11. TRACE AS CATEGORY Rosner et al. (2012) "Designing with Traces" Proc. CHI 2013, pp. 1649-1658.

12. 12. MakingInteractions Stain Tea Cups by Laura Bethan Wood

13. 13. MakingInteractions

14. 14. MakingInteractions

15. 15. MakingInteractions

16. 16. Q: Which role does the aesthetic quality of material traces play in supporting ( or not ) engaging experiences with ordinary objects?

17. 17. "The bond that arises between people and products will have to concern the concrete object in the here and now, and not only the meanings or symbols it carries or the functions it fulfills." Verbeek, What Things Do, 2005

18. 18. Study 1: Aging characteristics of daily life products

19. 19. MakingInteractions 12 participants 130 items

20. 20. MakingInteractions M24

21. 21. MakingInteractions T14

22. 22. MakingInteractions C4

23. 23. MakingInteractions C6

24. 24. MakingInteractions Metals Plastics Woods Ceramics Textiles Representation of material traces with pictograms Lighter hues of material family color scratches Bend on material surface (metal only) White annotation part of the material is lost (e.g. broken, torn, etc.) Black annotation contains a trace via another material Bend in material surface (metal only) Lighter hues of material family color (scratches) White annotation (part of the material is lost) Black annotation (contains residue from another material) Representation of material traces with pictograms

25. 25. Study 2: User perception of aged products

26. 26. MakingInteractions 22 participants 3 samples

27. 27. MakingInteractions Shallow nicking (common) M24 P23 W1 C4 T15

28. 28. MakingInteractions Deep linear scratching (common) M23 P19 W23 C8 T14

29. 29. MakingInteractions Material-specific traces M8 P26 W14 C6 T2

30. 30. MakingInteractions MATURITY

31. 31. Study 3: Design exploration of deliberate material traces

32. 32. MakingInteractions

33. 33. MakingInteractions

34. 34. MakingInteractions

35. 35. Concept design: Growing a patina of deliberate traces

36. 36. MakingInteractions

37. 37. MakingInteractions

38. 38. MakingInteractions

39. 39. MakingInteractions

40. 40. MakingInteractions

41. 41. MakingInteractions Computational Part Drill Bits Matrix of Coils Gear Mechanism Metal Sheet Frame Wooden Body Main Axis

42. 42. MakingInteractions This is Josh This is chiocciola This is the app This is the code these are the moments cLICK! "VOILA!" VAI! engrave

43. 43. MakingInteractions

44. 44. MakingInteractions Rich communication with and through objects

45. 45. MakingInteractions How would people engage with the opportunity to grow traces on digitally connected objects?

46. 46. MakingInteractions What form of maturity and which focal practices would deliberate traces provide digitally connected objects with?

47. 47. Thank you And thank you to Segourney Muntslag, Mirsaeid Mousavi, Andrea Mambrini, Ludovica Zengiaro, Pietro Malvezzi and Arianna Antognazza

48. 48. MakingInteractions a collaboration between the Connected Everyday lab and the Materials Experience lab at Industrial Design Engineering

# data[].attributes.attachment_link.title
Growing traces on objects of daily use: A product design perspective for HCI

# data[].attributes.attachment_link.description
Published on Pictorial presentation at #DIS2014, Vancouver, Canada http://dl.acm.org/citation.cfm?id=2598510.2602964&coll=DL&dl=ACM&CFID=394826875&CFTOKEN=96657591 1. DIS 2014 | June 21st-25th | Vancouver, Canada GROWING TRACES ON OBJECTS OF DAILY USE A product design perspective for HCI Elisa Giaccardi . Elvin Karana . Holly Robbins .

# data[].attributes.attachment_link.title
Do add 'short-leg' & 'extended seat' by Jurgen Bey | Droog − a different perspective on design in 2020 | Seat design, Chair, Seating

# data[].attributes.attachment_link.description
Feb 18, 2020 - Do add 'short-leg' & 'extended seat' by Jurgen Bey | Droog − a different perspective on design

# data[].attributes.headline
תהליך יצור של ביצת פברג'ה

# data[].attributes.subject
תהליך יצור של ביצת פברג'ה

# data[].attributes.attachment_link.readable_text
For nearly all of us, our involvement with the design and construction of our furniture ends with putting together an IKEA cupboard or repainting an old table. Designer Marijn van der Poll designed the Do Hit chair, which requires not only your participation but your muscle to shape it into the perfect seat for you.

The chair comes as a big block of stainless steel and is accompanied by a mallet. Upon receiving the chair, you have a go at the metal with the mallet, shaping the seat blow by blow. Although van der Poll says that the chair is physically difficult to shape with the heavy mallet, he believes that anyone can do it. It's sort of like going to one of those recreational "rage rooms" where you pay an admission fee to smash up somebody else's stuff and don't have to clean it up afterward.

Based on the video above, it takes a lot of hard physical labor to turn the cube of stainless steel into a suitable seat. Maybe that physical experience, shaping the seat into the perfect one for you, will contribute to a more meaningful connection to your furniture. You will forever be able to look at that big dented chunk of metal and know that you created it.

Van der Poll first created this highly unusual and sculptural postmodern chair in the year 2000, and has made several versions to demonstrate the process over the years. Each time, the act of smashing it with a mallet is like a work of performance art, resulting in a one-of-a-kind piece. The artist made an unsmashed "Almost" chair available for sale via conceptual design company Droog, and someone snatched it up. It's not hard to see why - smashing your own metal chair is probably better than going to therapy.

# data[].attributes.attachment_link.description
For nearly all of us, our involvement with the design and construction of our furniture ends with putting together an IKEA cupboard or repainting an old table. Designer Marijn van der Poll designed the Do Hit chair, which requires not only your participation but your muscle to shape it into the ...

# data[].attributes.attachment_link.readable_text
Every vase eventually breaks. The Do Break cracks but does not shatter when it hits the floor. Not only can the vase still be used but it also gains in beauty as the cracks multiply to form a unique pattern. From now on, any lover's quarrel is an improvement.

Materials & Measurements
Porcelain & rubber, 34 cm

# data[].attributes.attachment_link.description
Every vase eventually breaks. The Do Break cracks but does not shatter when it hits the floor. Not only can the vase still be used but it also gains in beauty as the cracks multiply to form a unique pattern. From now on, any lover's quarrel is an improvement.

# data[].attributes.attachment_link.description
De culturele sector wordt hard geraakt door de pandemie. Theatermakers hebben nauwelijks werk vanwege beperkingen in aantallen bezoekers. @droog heeft ruimte genoeg in een van de mooiste gebouwen in het centrum van de hoofdstad. Daarom organiseert @droog lekker eten in [...]

# data[].attributes.attachment_link.description
N°C featuring Hussein Chalayan. Contributions from Cathy Horyn, Patti Smith, Richard Bush, Jane How, Cat Power and Ronald Stoops. See full magazine online here.

# data[].attributes.headline
חוסיין קאליאן ONE OF

# data[].attributes.body
חוסיין קאליאן ONE OFF לFALKE

# data[].attributes.attachment_link.title
Shoes Obsession – Hussein Chalayan Falke Socks Boots | Boots, Shoe obsession, Falke socks

# data[].attributes.attachment_link.description
May 29, 2012 - Shoes Obsession – Hussein Chalayan Falke Socks Boots

# data[].attributes.headline
משמעות המושג ONE OFF

# data[].attributes.subject
משמעות המושג ONE OFF

# data[].attributes.attachment_link.description
hello i am french, and like to know the meaning of the one-off sentence what does it mean thank you for your reply

# data[].attributes.attachment_link.title
Anti-Fashion: A Manifesto for the Next Decade | Li Edelkoort | #BoFVOICES

# data[].attributes.headline
מנבא טרנדים לי אדלקורט 

# data[].attributes.subject
מנבא טרנדים לי אדלקורט 

# data[].attributes.body
שיחה במזן בסגר הקורונה הראשון

# data[].attributes.attachment_link.title
Live interview with Li Edelkoort | Virtual Design Festival | Dezeen

# data[].attributes.headline
מאמר של מרב רהט 

# data[].attributes.subject
מאמר של מרב רהט 

# data[].attributes.body
באשר למושג ONE OFF - בתיזה שכתבתי על גלריה פריסקופ והתפתחות שדה ה"עיצוב-אמנות" בישראל (ופתוחה ברשת) יש פרק שלם שעוסק ביחסים בין עיצוב לבין אמנות, כאשר בשאלה הספציפית על מושג הONEOFF יש שם קטע טקסט שיכול להיות לך רלוונטי בו התייחסתי לסוגייה של ייצור תעשייתי למול יצירה יחידנית באופן קצר שדי מפשט את הנושא

# data[].attributes.headline
 "The Work of Art in the Age of Mechanical Reproduction" Walter Benjamin

# data[].attributes.subject
 "The Work of Art in the Age of Mechanical Reproduction" Walter Benjamin

# data[].attributes.body
מאמר שלם באנגלית