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Responding to Brâncuşi: Bodily Abstractions and Challenging Verticality
No full textThe question of Brancusi’s continuing influence resonates in my own contemporary sculpture practice.
In my early self-taught practice, the geometric flattening of forms and dynamic balance of materials of Brancusi were as vital to my development as the biomorphic smoothness of Moore and intercut organic shapes of Hepworth. I aspired to capture both essence and energy of human figures in motion, distilled into semi-abstract shapes of plaster or bronze.
My practice shifted through postgraduate education and political upheaval, as austerity politics and cuts in the arts in the UK made me similarly unravel the unity and smoothness of my own sculptural forms.
Working increasingly with found objects and direct-burnouts of organic matter, my developing interests in social change, ecology and gender resulted in a messier aesthetic. In my PhD I explored horizontal ways of thinking and making, re-considering relationships between the human and non-human, informed by feminist new materialism, queer, trans and critical race theory. In questioning the verticality of patriarchal structure, I also questioned early, male, historical influences such as Brancusi.
Yet the forms I repeat in my practice still trace a Brancusian approach, as I fragment and subvert gendered organs, abstracting the body into shape via plant matter. In my recent ceramics I slab-build columns of clay, daring upwards, reaching height by multiplication. It is just that now I also cut into the vertical, and populate it with vegetal totems, some like Brancusian birds as they reach skywards, others swimming sideways, split open and complicating the tower they inhabit: their essence and difference intertwined
Danielle Arnaud Screening Programme
No full textScreening of the video One-Thing-After-Another, mp4, 7min 07 secs in the context of a group screening with:
Mick Finch, Alex Schady, Daria Blum, Oona Grimes, Mario Rossi, Paulette Phillips, Louisa Fairclough and Mark Dea
Sorted: Genre & Categorisation in Contemporary Music Business
Get PDFCategorisation is a perennial problem in the sphere of music. In the age of musical democratisation and playlists, this chapter explores the role of genre in the contemporary music business. It argues that there are distinct cultural and economic differences between genre and the playlist. The chapter explores the roles of the music business—by way of record label activities and journalistic practice, the resistance to categorisation from musicians themselves and the cultural policing practices of fans alongside the new practices of streaming services. It explores the notion of product in this triumvirate of fans, labels and industry, where genre shows the song as product to be sold generically to fans, the playlist allows the selling of fans (or at least their data) to advertisers
Establishing a ‘Centre for Community Organising’: The Camberwell Model of employing art and design methodologies in community organising
Get PDF"At the festival, the room was charged by a breadth of expertise and a shared hunger for action, reminding us why diversity is strength within community organising….as a community organiser, I learnt a lot about creative methods of facilitation and how they can aid listening workshops and build relationships and solidarity between diverse participants. I have been sharing this with my broader team and organisation, so there has been a wider impact on the organising community too!" Albinia Stanley, Community Organiser, Southwark and Peckham Citizens
Despite the well-meaning intentions behind socially engaged art and design practices, their impact on communities often falls short of expectations, prompting the critical question: "Who truly benefits?" Since joining Southwark Citizens, Camberwell College of Arts, part of University of the Arts London, have been exploring how to use art and design methodologies to build long-term relationships with local communities. The work we have been doing has been coined by Citizens UK ‘the Camberwell model’, acknowledging the benefit that working to our strengths brings to the local alliance and the university’s social purpose agenda. In this presentation we will share some of our initial ideas and creative projects that show how a large bureaucratic university can adapt its practices to embrace the agile nature of locally embedded community organising
Re/shaping the other: Puppetry as phenomenology and the ethics of representation
Get PDFScholars such as Steve Tillis, Wanda Strukus and Paul Piris have already highlighted the need for a phenomenological approach to puppet theatre but have generally conducted their analysis from the subjective viewpoint of the audience. This paper considers my short puppetry piece Chang and Eng and Me (and Me), in which the practice of puppetry becomes an active site of phenomenological investigation, considering this from the subject position of the puppeteer. Drawing on Emmanuel Lévinas’ Ethics of the other and my own practice as a puppeteer and theatre-maker, I argue that a practice of puppetry-as-phenomenology offers unique tools through which we might apprehend the other, and in doing so grapple with pressing contemporary issues of violence and representation. This paper is supported by an extract from the work itself, which is available online: https://vimeo.com/wattleanddaub/cemmextrac
Art Class + discussion with Andrea Luka Zimmerman with William Fowler
Get PDFArt Class showed as part of my season of screenings at the BFI, December 7 - 13, 2024. The screening followed by a 40 minute in conversation, including the audience, on issues of marginalisation, class, gender, polyphony, safety and culture. How can we carve open spaces of visibility inside institutions that are based on structures of hierarchy. How can we co-create a sense of belonging regardless, though making authored films, co-created films, filmmaking as embodied, lived, thinking in progress? How might we ask for access to spaces, and one what terms might we be granted these? Will we ever be able to bring our whole selves to the table, in order to be visible?
This event was originally billed to be Andrea Luka Zimmerman in conversation with Penny Woolcock, who could not attend due to illness, and was therefore with William Fowler
Weaving Vessels for Emerging Climates
Get PDFEditors’ Note: We publish this delicate and affective piece over a year and a half since we launched The Climate Changed series. In these critical months, we have witnessed, livestreamed, Israel’s urbicide, ecocide, and genocide of Palestinians, alongside the widespread repression and criminalization of protests against these actions, many of which occurred in academic environments. Rather than being separate, the colonial imperative and the environmental havoc we face run along the same lines. At Failed Architecture, we have explored architecture’s complex interweaving with these processes, but we have seldom attended to the realm of education—to the acts of learning and teaching. Yet, the call to question and reimagine the way we understand and practice architecture also involves the pedagogies that, through acts of repetition, shape the field. This is why Weaving Vessels for Emerging Climates by Catalina Mejia Moreno and Andreas Lang is an essential contribution to our ongoing Climate Changed series
Investigating the relationship between stereotyping and creativity during marketing campaigns in marketeers and audiences
Get PDFStereotyping others in a creative process may negatively affect creative output, yet there is currently scant empirical evidence of a link between stereotyping and creativity; here, we explore this link in marketing communications. In a quasi-experiment, we introduced a novel intervention to disrupt marketeers’ dependency on stereotypes and boost their creativity. The intervention decreased marketeers’ use of stereotypes when selecting consumer labels—descriptive labels of a typical consumer based on consumer information—while enhancing the creativity of ideas. In another set of online experiments, we asked British residents to rate the creativity of advertisements and purchase intentions toward advertising products with different levels of stereotypical depictions of people. We found a linear relationship between the stereotypical depictions of people in advertisements and perceived creativity. We also observed a potential U-shaped relationship between stereotypical representations of people in advertisements and purchase intention, such that advertisements with low and high stereotypical representations induced greater purchase intention than did those with medium stereotypical representations. Finally, we discuss the psychological mechanisms that potentially link stereotyping and creativity and the implications for marketing communications
The Rise of the Stylist: Subculture, Style and the Fashion Image in London 1980-1990
No full textThe Rise of the Stylist examines the social factors that contributed to the stylist becoming a key role in fashion image-making. The 1980s' stylist is presented as a cultural intermediary and auteur, as commercial compass and avant-garde innovator.
Focusing on London from 1980 to 1990, Philip Clarke draws on oral history interviews with the young creatives who were involved in the specific subcultural scenes, educational environments and new modes of publishing that informed a unique moment in British cultural life. By documenting the history of the stylist in fashion and dress, as well as their contribution to fields such as food photography and car manufacture, this study looks beyond the style press and bridges the gap between production and promotion.
The Rise of the Stylist defines the specific nature of the stylist's role in relation to that of other creative occupations and locates discussion of styling within the context of postmodern society, where political shifts, technological developments and changing attitudes in all fields of cultural production are reflected in the manufacture and dissemination of fashion
Beyond Her Noise: Feminisms and the Sonic
No full textWith some notable exceptions, research at the intersection of sound arts and feminist (and other allied) politics did not commence until well into the new millennium. Taking the work of the Creative Research into Sound Arts (CRiSAP) group as its starting point, this panel maps some of this more recent practical, curatorial, historical, and theoretical work, with questions that include: what is the role of grassroots, DIY technology infrastructures? In writing feminist (sound) art histories, how is the interview itself a sonic artefact? What does silencing sound like