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archives, reiterations of a gallery sequence i (first exhibited at the regional cultural centre, donegal 2019/2020. images courtesy of ulster universty special collections)

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archives, reiterations of a gallery sequence i (first exhibited at the regional cultural centre, donegal 2019/2020)

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archives, reiterations of a gallery ii (exhibition at the regional cultural centre, donegal 2019/2020)(nb image documents works by the counterfeiters, and works by artist myrid carten and artist susan macwilliam)

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archives, reiterations of a gallery i (exhibition at the verbal arts centre, derry 2018)

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albums, reiterations of a gallery sequence ii(first exhibited at the regional cultural centre, donegal 2019/2020. images courtesy of ulster university special collections.)

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albums, reiterations of a gallery sequence ii

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how does an archive collapse? how does an archive rise?
(Elements of a photographer's studio iv - part three)

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how does an archive collapse? how does an archive rise?
(Elements of a photographer's studio iv - part two)

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how does an archive collapse? how does an archive rise?
(Elements of a photographer's studio iv - part one)(reiterations of a gallery sequence first exhibited at the regional cultural centre, donegal 2019/2020)

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Il y a cent cinquante ans (stereo)
(Elements of photography iv)

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Il y a cent cinquante ans (stereo)
(Elements of photography iv)

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Il y a cent cinquante ans ...
(Elements of photography ii)

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Il y a cent cinquante ans ...
(Elements of photography ii)

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Precarious archives
(Elements of photography i)

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Precarious archives
(Elements of photography i)

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Precarious archives
(Elements of photography i)

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Precarious archives
(Elements of photography i)

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Note to self re. Middelbare-school Dollhaus sessions

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Note to self re. Middelbare-school Dollhaus sessions

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1959-60
AARHUS STATSGYMNASIUM
In Albissola, in the summer of 1959, he worked on a relief measuring 27 m x 3 m for the sixth-form college Aarhus Statsgymnasium. Concurrently with this, the execution of a 14 m tapestry: Den lange rejse (The Long Journey) was begun in Paris supervised by Pierre Wemaëre and himself – for the same college.

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Furniture designer Paris Renfroe endured a couple of harsh reality checks before landing firmly in the curious niche of dollhouse miniatures. The Syracuse, N.Y., native - who began his design business in San Francisco in 2002, uprooting to Minneapolis in 2005 - began creating miniature models of his full-scale contemporary-furniture designs because he didn't possess the CAD wizardry to generate computer renderings (reality check No. 1).

"As it turns out, my models were a hit. My clients often requested that I sign them so they can be kept as collectibles," says Renfroe, 38. As the recession took hold, Renfroe's full-size commissions came to a halt (reality check No. 2). "As a creative person, I had to keep forging ahead. Making scale models of all my newest designs was the most inexpensive way to do this."

Renfroe established PRD Miniatures in early 2009. His signature piece, the M112 Pod, is a tiny 1:12 scale replica of a shipping container-turned-living space that would, in its life-size incarnation, fit perfectly into the Bay Area landscape, given this region's weakness for inventive green homes. The pods are lined, floor-to-ceiling, with Baltic birch and embellished with sliding doors, a rooftop porthole, and, should your budget allow, any number of other bells and whistles, from custom lighting to streaming audio to working LCD screens.

"I'm trying to capture the imagination of today's youth," says Renfroe, eager to move dollhouse design beyond its stuffy, century-long Victorian rut. "In order to revive the interest in miniatures, we need to bring them into the 21st century."

Tim Boyle, co-founder and design principal of Brinca Dada, a New York toy company that specializes in modern dollhouses and contemporary furniture miniatures, shares Renfroe's foresight. "I'm an architect by trade, and I prefer modern design to traditional styles," says Boyle, 34, who designed Brinca Dada's Emerson house with a nod to the large glass intersections and steel horizontal planes of Richard Neutra's Palm Springs masterpiece, the Kaufmann Desert House. "I would like to see contemporary design really take off in miniatures so that the rising generation will hire me to design their full-size modern homes."

While Boyle considers his toy business to be an investment in America's future modernists - a form of long-term job security - sometimes coming to terms with grown-up limitations drives an obsession with modern miniatures. Redwood City miniaturist Megan Hornbecker, 36, admits that collecting modern dollhouse furniture provides her with unique opportunities to "fulfill childhood aspirations."

"I'll never be an architect, interior decorator, or furniture designer, but in miniature, I am building and renovating houses, creating modern interiors, and designing furniture and accessories," says Hornbecker, a stay-at-home mother of two and part-time Web designer who chronicles her toy pursuits on her blog, Modern Mini Houses ( www.modernminihouses.blogspot.com).

Hornbecker's prized possession, a limited-edition Antrim House, designed by the late Tom Berkner for New Hampshire's Earth and Tree Dollhouses and Miniatures, made its public premiere at a modern-miniatures showcase event hosted by Design Within Reach in September. Its furniture inventory reads like a PRD Miniatures catalog (everything from a bamboo desk to a hatbox toilet to an electric fireplace, interspersed with a few eBay finds (bathroom appointments and bedding), and Hornbecker's own modern-lighting designs, fashioned from cane tips and craft paper.

Doris Nathanson, 65, a modern-miniatures collector and designer based in Santa Monica, is also realizing a few childhood goals through this work: the graphic artist and former instructor at the Otis College of Art & Design actually began building toy furniture and sketching elevations of her dream house at the age of 6. "As I grew, my scale became smaller and more detailed," says Nathanson.

Her first modern-miniature creation, a wall clock inspired by the Nelson Ball clock, was created just three years ago, setting into motion a late-career change that now involves joyously handcrafting scale models of such iconic midcentury, modern and contemporary pieces as the Case Study V-leg bed and DWR's Twilight couch, plus Nathanson's own Long & Low sofa - her 1:12 interpretation of Knoll's classic Pfister is upholstered in none other than Knoll's Presto fabric - for her new line of dollhouse furniture called Mini Modernistas.

"I love showing my work to people who have never seen truly modern miniature furniture," says Nathanson. "They always say the same thing: 'Oh, that's so cool!' "

Make no mistake, fulfilling this type of childhood aspiration requires a very adult-size checkbook. PRD Miniatures, for example, can cost anywhere from $35 (a tiny cowhide rug) to $350 (a kitchen unit with color-changing LED backsplash). Brinca Dada's Emerson house is priced at $329. On average, Nathanson's pieces hover around $40, a steal compared with Vitra's extensive line of licensed (the operative word) designer miniatures: a classic Barcelona chair, shrunk to 1:6 scale, is $430 - it wouldn't be impossible to find a full-size version lurking on Craigslist for around that price.

While the recent upsurge of midcentury design (due in no small part to the popularity of the "Mad Men" television series) is indirectly restoring the stylishness of toy furniture, the fact remains that most modern-day, mass-produced dollhouses are visions of pink and purple plastic. Mattel's latest is a particularly flagrant violator: Barbie's Pink World 3-Story Townhouse.

Yuko Kasai, a San Francisco miniatures collector, laments their very existence. "I find them hideous and uncreative," says Kasai. Harsh words for a toy aimed at children between the ages of 3 and 7, not a 40ish account executive at Design Within Reach. Apparently, Kasai's daily immersion in modern design has spoiled her for conventional toys.

"Modern miniatures make you think about scale and proportion - details you aren't aware of in everyday life," says Kasai, whose personal collection includes Mattel's rare 1953 midcentury furniture set, made with leftover wood slats from the company's early (read: pre-Barbie) picture-frame-manufacturing pursuits. "I love their level of detail and craftsmanship."

Which begs the question: Is it fair to hold Mattel's current colorful dollhouse offerings - obviously designed for Barbie-crazed grade-schoolers, not their "Mad Men"-watching parents - to a grown-up standard of design?

Nathanson offers a democratic observation. "Barbie dollhouses do foster real play with real toys - that's important now more than ever, what with technology's stronghold on children," she says. "But, it's never too early to expose them to good design - or quality in anything, for that matter. Why not raise the bar?"

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Bauhaus meets dollhouse: miniatures go midcentury

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The pods are lined, floor-to-ceiling, with Baltic birch and embellished with sliding doors, a rooftop porthole, and, should your budget allow, any number of other bells and whistles, from custom lighting to streaming audio to working LCD screens.

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Uploaded by The Dollhouse on 2020-02-03.

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Uploaded by The Dollhouse on 2019-08-30.

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Harald Den Breejen discusses his collaboration with Siobhan Tattan for Spring in The Dollhouse, at Boekhandel Blokker, Heemstede.

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The Dollhouse in The Bookstore: Artist, Harald den Breejen discusses his collaboration with Siobhan Tattan in the Kitchen & The Living Room, Spring in The Dollhouse at a presentation in Boekhandel Blokker, Heemstede.

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The Dollhouse in The Bookstore (night time)

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29th May 2019

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Uploaded by The Dollhouse on 2019-06-07.

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Vladimir: Our Saviour. Two thieves. One is supposed to have been saved and the other...(he searches for the contrary of saved)...damned.

Waiting for Godot. Samuel Beckett.

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Hal Foster, An Archival Impulse, October, Vol. 110 (Autumn, 2004), pp. 3-22

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Collect the WWWorld: The Artist as Archivist in the Internet Age

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Collect the WWWorld: The Artist as Archivist in the Internet Age

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Collect the WWWorld: The Artist as Archivist in the Internet Age is an attempt to show how art responds to the information society. The last decade has witnessed an incredible growth in the production and distribution of images and cultural contents. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. The show investigates the impact of this process on art practices and on the role of the artist, who more and more evolves into a filter, a collector, an archivist, a post-producer of already existent cultural material.

Furthermore, Collect the WWWorld sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of cultural material produced by popular culture and advertising.

Collect the WWWorld is a show first produced by the Link Center for the Arts of the Information Age and already presented, in different versions, at Spazio Contemporanea, Brescia (Italy) in September 2011 and at the House of Electronic Arts Basel (Switzerland) in March 2012. The presentation at 319 Scholes will feature a number of new artists and works in a brand-new arrangement. The show relies on an ongoing research project that can be followed online at http://collectheworld.linkartcenter.eu.

The show will also include a reading area with the catalogue of the show, other books by Link Editions, artist books, texts, and catalogues that provided inspiration for the show. The exhibition will serve as the launch for Ryan Trecartin's Ryan's Web 1.0, a new e-book that features his W Magazine set as well as documentation of the research that went into the piece, which will be free for download in PDF format.

Participating artists include: Alterazioni Video, Kari Altmann, Gazira Babeli, Kevin Bewersdorf, Aleksandra Domanovic, Constant Dullaart, Elisa Giardina Papa, Travis Hallenbeck, Jason Huff, JODI, Olia Lialina & Dragan Espenschied, Eva and Franco Mattes, Oliver Laric, Jon Rafman, Ryder Ripps, Evan Roth, Ryan Trecartin, Brad Troemel, Penelope Umbrico, and Clement Valla.

Domenico Quaranta (1978, Brescia, Italy) is an art critic and curator. He is a regular contributor to Flash Art and Artpulse. He is the editor (with M. Bittanti) of the book GameScenes: Art in the Age of Videogames (2006) and the author of Media, New Media, Postmedia (2010) and In Your Computer (2011). He has curated various exhibitions, including Holy Fire: Art of the Digital Age (Bruxelles 2008, with Y. Bernard), Playlist (Gijon 2009 and Bruxelles 2010) and Collect the WWWorld (Brescia 2011 and Basel 2012). He is a co-founder of the Link Center for the Arts of the Information Age.

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Collect the WWWorld: The Artist as Archivist in the Internet Age is an attempt to show how art responds to the information society. The last decade has witnessed an incredible growth in the production and distribution of images and cultural contents.

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Caught in the present, I've hardly had a chance to poke my head into the attic this season...
A thin layer of dust is beginning to settle and Mini-Winnie has escaped!

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The Challenge of Preserving the Historical Record of #MeToo

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Evidence of the social-media movement should be collected, both because it matters and because it could disappear. But archivists face a battery of technical and ethical questions with few precedents.

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How to store it?

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A model that might fit the room...

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Cloud Test - 3D model by Andrey Martyanov (@3dartel)

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With space at a premium, An Archivist looks into different storage methods for The Attic:

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An Archivist begins the process of deciphering the idiosyncratic labelling of DH material and interpreting Common Folks' rather casual approach to filing...