Please join us for talks by Ian Anderson and Kim Coleman. Ian is a graphic designer and founder of ‘The Designers Republic’, the Sheffield based design studio. Kim is an artist and a designer of live stage shows for bands.
Comm Des Talks are a series of talks and workshop events organised by the Communication Design department at GSA.
This article from Walker Art Center provides a detailed overview of a range of artists using ‘performative’ drawing as a way of exploring abstraction, physicality and the world around them. Some great images too.
Picture: Matthew Barney performing Drawing Restraint 6, 1989. Courtesy the artist and Gladstone Gallery, New York. Photo: Chris Winget.
Workshop: Rebecca will be leading a one day workshop on Wednesday 26th November. The workshop is open to all year groups across Comm Des. Numbers are limited to 20 places, Booking is essential, reserve a place here.
Talk: Rebecca will be talking about her practice and recent projects, *Update* Now to be held Thursday 27th, 4.30pm, Reid Lecture Theatre, Peter Reid Building, GSA. All welcome!
Rebecca Davies is an illustrator, performer and event organizer who has a deeply participatory practice. Her work centres around themes of ‘people and place’, exploring changes in heritage and how people’s surroundings, in constant flux, affect our communities.
Since graduating from the Royal College of Art in 2010, she has developed and directed a number of large scale participatory projects including Studio at the Elephant, transforming a unit in the Elephant and Castle Shopping Centre into a programmed arts studio and event space. This project has since developed into The Peoples Bureau funded by Tate Modern. From 2012-2014 Rebecca travelled the UK in The Beau Belles Ice Cream Van, a project funded by Arts Council England and produced by Artsadmin. This project explored ‘how we come together’ and celebrated the social rituals and traditions across the UK . Her most recent project has been selected to open the Mons Capital of Culture 2015.
In the spirit of inter-institutional caring and sharing:
Preview: Thursday 27th March 7pm
Exhibition Open: Friday 28th March 12 – 4pm, Saturday 29th March 12 – 4pm
The White Room project space, Tin Roof Studios. 38-40 Bellfield Street
Dundee DD1 5JD
Presenting an exhibition of work created by 3rd year Illustration Students from Duncan of Jordanstone College of Art & Design.
Come along to our show! It consists of hand printed posters and set designs for a series of imagined theatrical adaptations of plays exploring climate change, sustainability, urban planning and related social and political issues.
Exploring subjects such as:
Hydro Fracking, Gentrification, Micro-topias, Climate Activism, Nuclear waste disposal, Nuclear War, Social Housing, The melting ice caps, Surveillance, Community Gardening.
Bowie: Fashion and Unpopular Culture (Tuesday 29th October), is yet another self-annointed interesting event from Com Des and Fashion + Textiles. Open to students + staff, the general public, and space oddities.
“In the later phase of the school, Potter instituted The Arena. Instead of organizing students by year or discipline they formed ‘family groups’. Each informal family would include students from different years and interests who would collaborate on projects and were free to configure their studios and structure their programmes and time as they wanted. The Arena united these families through a space of ‘critical disputation’. The important idea was that the Arena represented the institution, but that it should be thought of as providing a critical service to the family groups.”
In There Is Business Like Show Business* on Radio 4, Will Young (yes, I know, bear with me) examines the intriguing world of Industrial Musicals — lavish and complex musical theatre devised in the post-war years by corporations to play as informative, entertaining and supposedly morale-boosting features within trade-conventions — mainly to private audiences comprising of corporation staff. It cites examples such as ‘Tractor Man’ — a whole musical devised around the benefits of productivity enhancing Ford Tractors — as examples of a time when corporate budgets (and optimism in the power of consumerism) were at an all-time high, and provides an interesting insight into a very different way of thinking about brands, design and marketing — one which manages to be simultaneously sinister, nieve, and endearing, in a nostalgic kind of way.
I was interested in this as lately I’ve been reading a bit about Fordism and Post-Fordism — the influence of mechanisation on our way of thinking about the world, and the subsequent paradigm shift to a more ‘flexible’, ‘knowledge’ based economy. If you’re interested in exploring this more, this book is a good starting point (in an art and design context). I’ve also really got into this dictionary of ‘Critical Theory’ lately**, and have found it to be a handy route in to a lot of the phrases, terms and people that crop up in articles, discussions etc, but which I know nothing about. There’s a clear and easy to understand definition of Fordism and Post-Fordism in that.
* Available to listen again till Saturday.
** Realise that for the ‘haters’ out there, it’s going to be difficult to decide whether to ‘disrespect’ me for promoting a Will Young radio-show, or touting a dictionary of Critical Theory.
*** The clip used to illustrate this post is not really from the ‘golden era’ of Industrial Musicals – its from a slightly later period, and therefore lacks the production values (and budget) of some of its predecessors. But it was one of the few clips I could track down online. It was made by Allied Chemicals, and this ‘number’ is ‘The Great American Consumer’, from Seein’ the Light, 1978.
Following his own maxim that “every lie creates a parallel world in which it is true”, Momus (Scottish musician and author of The Book of Scotlands and The Book of Jokes) sets out to tell twenty-seven fantastic lies about things which happen, have happened or will happen in Glasgow School of Art’s most famous building. His attempted lies will sometimes falter and fail, falling back into truths, reasonable and useful suggestions, and thoughts about lying itself.
A while back David Coyle sent me a link to some footage of American composer Robert Ashley, performing excerpts from his early 1980’s ‘TV opera’s’. I was quite amazed by them. You can find out more about Ashley here.