589 research outputs found
Invited Speaker: Joint 'fashion research conversation' webinar with Professor Juliette MacDonald
No full textJoin us for this conversation about the intersecting themes between Juliette and Fiona's research on fashion, textiles, place, identity, heritage, luxury, sustainability, craft and technology in Shanghai, Scotland and global contexts
The Final Act of Juliette Willoughby
Get PDFFrom the author of The Club, a Reese Witherspoon Book Club Pick, The Final Act of Juliette Willoughby is Ellery Lloyd's compulsive multiple - timeline mystery – a story of love and madness, of obsession and revenge. This novel was co-written by Paul Vlitos (University of Greenwich) and Collette Lyons (writing together as Ellery Lloyd). In a prestigious starred notice, the influential US journal Kirkus Review noted that: “Lloyd’s novel interweaves the stories of three distinct time periods [1930s Paris, 1990s Cambridge, present-day Dubai] to create an elegant tapestry—and a novel of love, suspense, family secrets, Egyptology, surrealism, and corruption. […] A delightful puzzle box of a novel.” The Final Act of Juliette Willoughby was also one of ’10 noteworthy books for June’ in the Washington Post, a Crime Fiction Pick of the Month in The Sunday Times – and Heat magazine’s book of the week! The novel was published on the 20th June 2024 by Macmillan in the UK and on the 11th June by Harper Collins in the US
Tucker Carlson and Juliette Dively
No full textNoted author and political commentator Tucker Carlson poses with Juliette Dively on February 4, 2003 at the Dively Frontiers of Globalization Lecture event. Carlson was the featured speaker, held in the Green Center.https://spiral.lynn.edu/dively-photos/1003/thumbnail.jp
Naked Craft Network
Get PDFThe Naked Craft Network (NCN) was a multi-component, international collaborative research project (2014–2017) that investigated topical issues in contemporary craft practice in Scotland and Canada. Through an innovative combination of practice and theoretical reflection, bridging design history and theory, practice-based research and public engagement, the project brought together an international network of practice- based researchers, writers, curators and industry partners. They questioned the value of craft as a practice, an historical phenomenon and a contemporary experience. The main outputs from the project were a cluster of interlinking research events, including residencies, workshops, a public education programme and accompanying symposia. The research was disseminated to the public through a touring exhibition of Canadian and Scottish craft that was accompanied by a catalogue with commissioned essays. Led by craft historian and theorist Juliette MacDonald and Dr Sandra Alfoldy, Nova Scotia College of Art & Design, Canada, NCN was the first major craft partnership between Scotland and Canada and involved four academics, 23 professional craftspeople, five curators, and three research assistants. The Make workshop and symposia brought together individual makers from local craft communities, and researchers from academic institutions from Canada and Scotland. 20 June – 6 September 2015 Art Gallery of Burlington, Burlington, Canada. 26 September – 28 November 2015 Centre Materia, Quebec City, Canada. 14 January – 10 April 2016 Art Gallery of Nova Scotia, Halifax, Canada. April – May 2016 Thurso Gallery and Iona Gallery, Kingussie, Scotland. Both galleries at once with one month in each, but it was counted as one exhibition venue. June – August 2016 Barony Centre Craft Town, West Kilbride, Scotland. October 2016 – February 2017 Peebles Art Gallery, Peebles, Scotland. April – June 2017 An Lanntair, Stornaway, Orkney, Scotland. The legacy of the research lies in the way it has opened up channels of communication between the two communities to establish a space for reflecting upon and re-evaluating the traditional roles of craft practice for the future
Ordinary Escapes and Other Magic
No full textCatalogue of an exhibition held at SASA Gallery, Adelaide, 2 April-10 May 2013.This exhibition brings together two South Australian artists that focus on fantasy states as a means to escape from reality or negotiate the difficult terrain of existence.Artists: Celeste Aldahn and Ray Harris
External scholar: Juliette Peers.
Includes bibliographical references
Juvenile problem/needs analysis : Oregon
No full textsubmitted to: Youth Development Division, Oregon Department of Education ; submitted by: Adrian J. Johnson, M.S.W. Lisa M. Lucas, B. A. Juliette R. Mackin, Ph.D.Title from PDF cover (viewed on February 1, 2023).This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
Artigiano delle riforme. Stile rustico e ricerca della sapienza nell'opera di Bernard Palissy (1510-1590).
Get PDFArtigiano delle riforme. Stile rustico e ricerca della sapienza nell'opera di Bernard Palissy (1510-1590).
Questa tesi intende proporre una nuova lettura, complessiva e aggiornata, dell’opera artistica, figurativa e scritta, di Bernard Palissy, ceramista francese vissuto tra il 1510 e il 1590.
Questo autore poliedrico ha suscitato un grande interesse nell’Ottocento dando luogo a diverse biografie, ma cadde di nuovo nell’oblio della storia dell’arte fino agli scavi del giardino delle Tuileries negli anni 1980, scavi che fecero emergere il suo forno e migliaia di frammenti di materiale ceramico. Questa fondamentale scoperta generò nuove ricerche e la prima monografia di stampo storico-artistico ad opera dello studioso americano Leonard Amico (1996). Spesso considerato in modo isolato per la peculiarità delle sue opere, esclusivamente dedicate alla rappresentazione minuziosa della natura osservata nella sua regione del sud ovest della Francia, il fenomeno Palissy necessitava una riflessione aggiornata che potesse aiutare a comprendere i manufatti che ancora oggi continuano a stupire l’osservatore, per la peculiarità dei loro soggetti e il virtuosismo della loro realizzazione. In particolare, mancava una riflessione di carattere storico artistico sullo statuto, la funzione e la ricezione di tali opere, nonché del loro stretto legame tra la fede protestante dell’artista, i suoi interessi scientifici e le sue scelte iconografiche. Sempre menzionato nella letteratura relativa, ma mai veramente interrogato, questo nesso tra la religione rivendicata dall’autore e la sua arte in un certo modo iconoclasta mancava ancora di una riflessione dedicata.
Il presente lavoro si compone di cinque capitoli. Il primo si propone di fare il punto circa le conoscenze certe relative alla vita e all’attività di Palissy, nonché dello stato della storiografia a lui dedicata. Prosegue con una riflessione metodologica sugli obiettivi e i mezzi di questa tesi, e presenta il catalogo delle opere che saranno contemplate in seguito. Considerata la natura frammentaria dei numerosissimi reperti che costituirebbero l’opera completa, questo corpus non è esaustivo e si deve dunque intendere come un campione significativo dell’arte ceramica qualificata come “rustica”. Vengono inoltre presentati i tre scritti di cui fu autore il ceramista, opere che sono il pilastro della nostra riflessione, perché al di là del fatto di custodire il pensiero palissiano, essi racchiudono la descrizione dettagliata della grotta realizzata per il Connestabile Anne de Montmorency, e di un progetto di giardino, oltre a un racconto autobiografico sulla vocazione artistica dell’autore stesso.
Il secondo capitolo entra nel merito della questione del contesto riformatore in cui presero forma le opere di Palissy. Viene sviluppata la definizione di Riforma, intesa sia sul piano spirituale, con la diffusione del calvinismo che toccò principalmente la borghesia gli artigiani e gli artisti francesi, sia sul piano artistico, con l’affermazione degli artigiani quali detentori di un sapere pratico affidato a trattati scritti in lingua vernacolare, di cui fanno parte appunto le pubblicazioni del nostro protagonista. A proposito della religione protestante si affrontano la concezione dell’arte e i fondamentali cambiamenti imposti alle immagini di culto, alla luce dei quali tenteremo di spiegare la decisione del Nostro di abbandonare l’iniziale professione di pittore di vetrate destinate alle chiese per intraprendere una la carriera di ceramista naturalista.
Il terzo capitolo intende soffermarsi sulla nozione di “rustico” che Palissy utilizza per qualificare le sue opere, sia le rustiques figulines sia la grotta per il Connestabile di Montmorency. Partendo dal lessico architettonico, si cerca di collocare l’antro palissiano nell’orizzonte artistico che vede diffondersi su scala europea il gusto per l’estetica rustica. È analizzata la simbologia legata alle erme che ornano la grotta, motivo ricorrente dell’arte rinascimentale e prediletto dal Nostro. Evidenziate le radici contestuali che sottintendono la nascita delle grotta, si evidenzia l’originalità dell’interpretazione del “rustico” da parte del ceramista di Saintes.
Il quarto capitolo è dedicato alla descrizione del giardino di Palissy, un giardino che però rimase solo sulla carta in quanto, sino ad ora, non si è potuta determinare l’esistenza di alcuna traduzione pratica di quell’elaborato progetto. In questo capitolo si cerca di approfondire alcune argomentazioni lasciate in sospeso dalle ricerche precedenti ovvero la natura stessa della pubblicazione in cui l’autore sviluppa il prospetto del giardino, in bilico fra utopia e concreta realizzazione, e la controversa riflessione sulle fonti che ispirarono le didascalie bibliche grazie alle quali Palissy scandisce la visita ai diversi luoghi del giardino. Vengono inoltre proposti nuovi confronti con altri giardini dell’epoca, ponendo la questione della dimensione religiosa dei parchi rinascimentali.
Il quinto capitolo, infine, è dedicato al vasellame e al nesso tra scienza religione e arte che si instaura nelle opere palissiane. Partendo dal contesto per cui furono creati, cioè quello dell’”arte del banchetto”, viene proposta una lettura di tali oggetti come manufatti destinati alle wunderkammern in virtù di un’iconografia ricorrente e di specifiche tecniche di realizzazione. Con quest’ultimo capitolo si propone una lettura spirituale delle rustiques sostanziata dall’insieme delle ricerche e delle interpretazioni elaborate lungo l’intero lavoro.This thesis proposes a new and up-to-date reading of the artistic, figurative and written works of Bernard Palissy, a French potter who lived between 1510 and 1590.
This work is divided into five chapters, the first of which takes on the current knowledge about Palissy’s life and work and the status of historiography about this artist. A methodological analysis will be achieved by studying a meaningful sample of his craftsmanship, as well as reflecting upon three of his written works.
The second chapter will examine the context in which the Reform influenced Palissy’s work. A definition of Reform is developed in this chapter both on a spiritual level, with the spread of Calvanism among the bourgeoisie, and French craftsmen and artists, and artistically, with the establishment of craftsmen as owners of a practical knowledge culminated in essays written in vernacular languages, of which the publications of our author are an example.
The third chapter focuses on the notion of “rustic” that Palissy uses to describe his works, the rustiques figulines as well as the cave for the Constable of Montmorency. Starting from the architectural lexicon we try to locate the palissian lair in the artistic horizon where the taste for rustic was spreading on a Europe-wide scale.
The fourth chapter is devoted to the description of Palissy’s garden, while trying to study in depth the nature of the publication itself, its possible sources and proposing new comparisons with other gardens of the time, raising the question of the religious dimension of the renaissance parks.
Finally, the fifth chapter concentrates on the pottery and the link between science, religion and art that is created in the works of Palissy. Starting from the context for which they were created, namely that of the “art of the banquet”, we propose an interpretation of this objects as artefacts destined to the wunderkammern by virtue of a recurrent iconography and of specific techniques of realisation. With this final chapter is suggested a spiritual reading of the rustiques which is substantiated within the research and interpretations developed throughout the thesis
Introduction
No full textStyling Shanghai is the first book dedicated to exploring the city's fashion cultures, examining its growing status as one of the world's foremost fashion cities. From its origins as an international treaty port in the 19th century, Shanghai has emerged as a global leader in the production, mediation and consumption of fashion. This book reveals how the material and imaginative context of this thriving urban centre has produced vivid interpretations of fashion as object, image and idea.
Bringing together contributions by a range of leading international fashion historians and theorists, and drawing on extensive original research, Styling Shanghai offers an interdisciplinary analysis of the mega-city's shifting position as a fashion capital. Rooted in collaboration between leading UK, Australian and Shanghai-based institutions, it considers the impact of local and global textile manufacturing, the representation and marketing of 'Shanghai Style', bodies and gender in the 'Paris of the East', and the challenges of globalization, commercialization and digital communication in contemporary Shanghai
Craft and the Innovation Agenda
No full textCrafting has witnessed an upsurge in critical debate this past decade and the sector has much to be encouraged by as a result of this increased attention. Alongside a plethora of new books dedicated to the debate, most notably the work of Glenn Adamson (2007; 2009; 2013), there is the addition of a first series of academic journals, namely, The Journal of Modern Craft (published by Berg 2008) and the journal Craft Research (published by Intellect in 2010).In the UK, new knowledge and greater awareness of craft was supported by, for example, the emergence of the Arts and Humanities Research Council (2005), the arrival of Craft Scotland (2007) and the continued work of the Crafts Councils in Ireland, London and Northern Ireland. This recent investment is significant; it denotes a transformation in attitude and behaviour towards the leadership and management of a craft in the contemporary world. From this perspective, it is reasonable to suggest that momentum has gathered and the issue of why craft needs to rethink its cultural, economic, political, social and technological relations with the world is being attended to. Emerging from this landscape is the exigent problem of mindfully managing this asset to receive a return on investment that effectively supports craft in all its guises; the asset being how craft engages with the principle of uncertainty. Sustaining change is now the important challenge.<br/
Branding the Douro territory: wine labels – a missing dialogue
Get PDFThis thesis argues that the design of wine labels is a crucial aspect of contemporary wine
communication, in particular for niche wines operating in the global market. The thesis focuses
on dry wines of the Douro Demarcated Region (DDR) and on contemporary design practice;
it aims to fill a gap in the existing literature by bridging the worlds of design and winemaking.
Central to the discourse is the argument that territorial branding should be used as a key
concept in the visual communication of Douro’s dry wines. At the core of the research is the
argument that a strategy built upon this concept could be shared by different stakeholders
within the DDR and would provide an advantage for the broader wine craft in terms of longterm
benefits and sustainability.
The theories of embeddedness (Polanyi, 1945) and disjuncture (Appadurai, 1990) help to
understand the phenomena affecting both the Douro wine craft and the path of Portuguese
design, casting light on one of the thesis’ major findings, which is the persistent lack of
dialogue between designers and the Douro stakeholders. Moreover, the two theories strengthen
the study’s proposition on territorial branding by establishing links with valuable concepts and
constructs, e.g. terroir, place of origin and visual identity. A parallel is also drawn between
the two theories, social design (Margolin, 2002; Fuad-Luke, 2009), and wicked problems
(Buchanan, 1992). As such, embeddedness and disjuncture constitute the theoretical
framework of the study and help to define its holistic, pragmatic approach. The thesis has
employed a qualitative, interpretive methodology centred on the analysis and discussion of
purposive case studies. The ‘designerly’ knowledge, as it was coined by Nigel Cross (1982,
2001, 2006), has been a major influence of the thesis’ methodology.
The study’s key findings suggest that design is a cost-effective resource within the DDR, yet
it is under-explored and under-used. In particular, the research has identified the following
problems: the persistence of homogenised branding strategies and visual clichés within the
craft; a symbolic deficit expressed in the wine labels of Douro’s dry wines; and a generalised
lack of awareness of the potential of communication design. Promising findings have also
emerged from the investigation: the presence of an ‘excess of identity’ within the Douro wine
region; the existence of exceptional examples illustrated by the case studies, demonstrating
the effectiveness of specific design approaches; and the potential of territorial branding as a
beneficial strategy of communication within the glocal system of the DDR
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