To explore, amongst other things, ideas about the way we identify futures as “probable”, “preferable”, “plausible” and “possible”, join Ivor here.
Thomas Joshua Cooper
Picnicking on the River North Esk
silver gelatin print, hand toned & printed by the artist
two part work
edition of 4
Thomas Joshua Cooper in conversation with Anne Lyden, Curator of International Photography, National Galleries of Scotland
Saturday 1 November, 11am – midday
Ingleby Gallery, Edinburgh
Free, booking essential
Celebrated landscape photographer Thomas Joshua Cooper will discuss his work and his new Ingleby Gallery solo exhibition Scattered Waterswith Anne Lyden (Curator of International Photography, National Galleries of Scotland).
To book your place online please click here
Now on Netflix (UK)
Watch the world exclusive McCullin trailer for David and Jacqui Morris’s documentary on British photographer Don McCullin, whose acclaimed work for the Observer and the Sunday Times in Vietnam, Biafra, Cyprus and Lebanon produced some of the defining images of war. McCullin describes the ‘moral sense of purpose and duty’ behind his work
McCullin is released in the UK on 1 January 2013
Hato Press are featured in Grafik and at Serpentine Gallery
Established just four years go, Studio Hato and its sister business risograph printers Hato Press have an impressive roster of clients, including the Tate and Serpentine Galleries. We caught up with director Ken Kirton to discuss experimental production, community engagement, and new digital venture Hato Labo.
School of Fine Art Lecture: Paul Seawright
Glasgow Film Theatre, Friday, 24th October 2014
11.00 am – 12.30 pm. Free
Glasgow School of Art in association with Street Level Photoworks and JTPA.
Paul Seawright is Professor of Photography and Head of Belfast School of Art at the University of Ulster.
He is best known for his early work from the 80’s researching sectarian murder in Northern Ireland and his photographs of mine fields and battle sites in Afghanistan. These were commissioned by the Imperial War Museum in 2002 as part of the War Artist commissions and have been exhibited in over twenty countries.
His work is held in many museum collections including The Tate, San Francisco Museum of Modern Art, the Art Institute of Chicago, International Centre of Photography New York,Portland Art Museum, the Art Gallery of Ontario, Arts Councils of Ireland, England and N.Ireland, UK Government Collection and the Irish Museum of Modern Art. In 2003 he represented Wales at the Venice Biennale of Art and in 1997 won the Irish Museum of Modern Art/Glen Dimplex Prize for a major contribution to Irish art.
if,then. 20-23 Oct. A week of interactive interaction design workshops. By Art School i/0 and A Feral Studio.
The Plinth is a living room gallery set up by GSA students and graduates Hamish Chapman, Freya Fullarton and Charlotte Fountaine. Anyone is free to have an exhibition on The Plinth, see the website for submission information. Exhibitions run for one week, and are published online and in the quarterly publication. So far there have been 19 exhibitions, and all past exhibitions can be viewed at thisistheplinth.co.uk. Have a nosey at thisistheplinth.tumblr.com for more visual delights.
Image: Antra Svarcs
Duncan Campbell introduces the caseroom to the Turner prize.
Wed 01 Oct
GSA Student’s Union / Upstairs
Recently I have been hooked on two websites which are (un)related real-time updates of digital (mis)communication.
The first is a site created by Norse, an internet attack intelligence agancy (very Neuromancer but without the rastas in space). The site is a real-time visualisation of a small percentage (apparently <1%) of cyber attacks. It shows where the attacks originate, where is being targeted and the type of attack. It is pretty incredible. If you watch it for long enough you’ll see the map quieten down and then, boom, a massive coordinated attack will fire off. Usually against the USA.
The second site is a real-time visualisation of every emoji being used on twitter. I find it mesmerising. It follows on from an article I read in The Observer last weekend which was interested in the popularity of Emoji and how it has become a ubiquitous virtual language, with pictograms replacing words and combinations of these symbols replacing whole sentences but adding a multitude of increased interpretations. As the author of the article writes at the end of the article, “Barthes would have had a field day.”
Both of the sites are socially interesting and although at first glance I think it seems that the Norse one is the more ‘important’ of the two, I am fascinated by the Emoji one and by the questions it raises about how we communicate digitally, why are we always more drawn towards using pictures (pun intended), what does this mean for words and writing, is the majority of written language superfluous to communicative needs, can we call emoji a recognised language in its own right, and how would a shift towards a pictorial-based language system affect things like journalism, poetry, books etc, and physical interaction? Its a highly unlikely thing to happen but it is interesting to think about.
Great to see the work of viscomdes person Kirstin Kerr featured on Grafik, with some great images, and interesting back-stories to some of the projects.
The Sandberg Instituut discusses its new typeface and website, quoting Herman Zapf (1968);
“Electronics will soon force its claim on letterforms, and let us hope it will liberate us from the dust of the past.”
The Walker design blog provides an extensive write up of the recent exhibition of the work of Muriel Cooper, graphic designer and pioneering technologist.
Great to see some GSA illustrators featured in The Guardian this weekend.