Frieze Week: insider’s guide by Max Mara Art Prize nominee Emma Hart
At the historic headquarters of Max Mara in northern Italy, the six names of the Max Mara Art Prize for Women shortlist were revealed earlier this month. The finalists include Wimbledon College of Arts course director Tania Kovats, Central Saint Martins lecturer Emma Hart, and Chelsea College of Arts alumna Ana Genovés.
Ahead of the Prize announcement, nominee Emma Hart shares her insider’s guide to where to go in London during Frieze Week.
On Wednesday 14th October I’ll be setting out to hear what Marcus Coates has to say as he gives an artist talk at Kate MacGarry, where he has collaborated with dance artist Henry Montes on the current exhibition which tests whether contemporary dance can be of any use in society today.
The exhibition a Question Of Movement: MARCUS COATES & HENRY MONTES continues at Kate MacGarry until 24 October.
My own twinkle toes will also hot step it to Space on Mare Street where I can’t wait to see Florence Peake’s exhibition, more dance served up with a bonkers vision and sculptural excess.
David Roberts Art Foundation
On Thursday 15th October I’m hoping I get into see Caroline Achaintre, John Bock, Sue Tompkins and others present new performances at the David Roberts Art Foundation. Entry is on a first come, first served basis and it will be very busy as witnessing a “legendary’ John Bock performance is something you must do at least once in your life and Caroline Achaintre’s never presented a performance before, it’s her “live” debut. I hope I get in!
The exhibition Albert the Kid is Ghosting continues at David Roberts Art Foundation until 12 December with special opening times during Frieze Week.
記事はこちら⇒ UAL News
投稿者 unicon : 14:02
ロンドン芸術大学のセントマーチンズ（Central Saint Martins）、CCW（Camberwell, Chelsea & Wimbledon）、LCC（London College of Communication）のファウンデーションコースのFinal Showの情報です。
★Foundation Show 2015 - Central Saint Martins★
14 May - 16 May 2015
Opening times: Thursday to Friday: 12 noon – 8pm
Saturday: 12 noon – 6pm
Location: Central Saint Martins
Granary Building, 1 Granary Square, King's Cross
★Camberwell, Chelsea & Wimbledon Foundation Diploma in Art & Design Summer Show★
11 May - 15 May 2015
Private View: Monday 11 May, 6pm - 9pm
Open to the general public:
Monday 11 May 11am - 5pm
Tuesday 12 May 10am - 8pm
Wednesday 13 May 10am - 8pm
Thursday 14 May 10am - 8pm
Friday 15 May 10am - 5pm
Location: CCW Progression Centre
Wilson Road, London SE5 8LU
★LCC: Intro/Outro: Foundation Diploma Art & Design 2015★
27 Apr - 06 May 2015
10:00 to 17:00
Private View: Tuesday 28 April, 6 - 9pm
Exhibition open: Monday 27 April - Wednesday 6 May
Monday - Friday 10am - 5pm
Saturday 11am - 4pm, closed Sunday
Location: London College of Communication
Elephant & Castle London SE1 6SB
投稿者 unicon : 11:35
London art college degree shows 【TimeOut London】
See what the class of 2014 have to offer as London's art schools show off the creations of their latest graduates
It's final-year art show season at London's top art and design colleges. We've rounded-up all the degree shows you need to see this summer, including BA and MA courses in disciplines including painting, sculpture, photography, printmaking, textiles, architecture, ceramics and curating at colleges including Goldsmiths, Chelsea College of Arts, Royal Academy Schools and the Architectural Association School of Architecture. Read our guide and find the stars of tomorrow.
投稿者 unicon : 11:53
Royal recognition for UAL design teaching
2013年11月の内示に伴い、先日バッキンガム宮殿においてロンドン芸術大学に英国女王賞（Queen's Anniversary Prize）が授与されました。この授与式典にはセントマーチンズの学部長Jonathan Barratt氏とロンドン芸大副総長Nigel Carrington氏のほかに学生代表としてMA Industrial Design 2年の Gen Wakabayashi さんが列席しました。
UAL staff have paid a visit to Buckingham Palace to officially receive the Queen’s Anniversary Prize – awarded as part of the honours system to recognise outstanding teaching and research in UK universities.
The University receives the award for seventy five years of product and industrial design teaching at Central Saint Martins that has produced game-changing ideas from laptop computers to the Routemaster bus.
First taught in 1938 as Design for Light Industry, the subject has evolved to focus as much on tackling social, environmental and quality of life issues as on developing new products.
Welcoming the recognition, which was announced in November 2013, Programme Director of Product, Ceramic and Industrial Design at CSM, Nick Rhodes, said: “We have taught product and industrial design here since the 1930s, and our alumni and lecturers continue to lead the profession, shaping the designed environment internationally, crossing all sectors from consumer electronics to furniture, transport systems to domestic appliances, services to social enterprise. In fact, our undergraduate offering has produced more Royal Designers for Industry in this discipline than any other course in the world.
“At Central Saint Martins we have always striven to produce product and industrial design graduates with great skill and creative ambition, people who will make real and positive impact in the world, and it is absolutely fantastic to be recognised for our achievement by this incredibly prestigious award which identifies our work and the profound impact of our discipline on the creative economy of the United Kingdom and beyond.”
Middle: Nigel Charrington, Jonathan Barratt,
Front Students: Upsana Simha (MAID 1), Ella Dorfman (BAPD 3), Gen Wakabayashi (MAID 2), Kaye Toland (BAPD 1), Kiki Lam (BAPD 2)
Nigel Carrington, Vice-Chancellor of University of the Arts London, added:
“I’m delighted for our staff, students and graduates that our excellence in industrial and product design has been recognised in this way. What they do fundamentally changes how we experience the world – how we communicate and socialise, how we work, how we engage politically, what our homes look and feel like. It’s this applied creativity that underpins all sectors of the UK economy, generates employment and attracts investment. I’m very proud that UAL is at the heart of it.”
Engagement with the creative and wider industries is a fundamental part of the courses, and students learn through working on live briefs with real clients. Projects have included working with Transport for London on reducing bicycle theft through better design to partnering with the London Borough of Camden on its Green Camden initiative to explore how design can reduce carbon emissions. Other industry partners include Absolut Vodka, Bloomberg, Christian Dior, GlaxoSmithKline, Microsoft and Nespresso.
Designed by CSM graduate Antony Joseph
Jeremy Till, Pro Vice-Chancellor of UAL and Head of Central Saint Martins, said:
“A big emphasis for students on these courses is on learning to ask better questions and recognise better answers. We want to nurture professionals who can rethink what individuals and companies want to achieve and how they can achieve it, and who can generate innovation rather than simply anticipating and planning for it. Industry partners want to work with us because it’s exactly that approach that keeps them ahead of the curve.”
Graduates from the courses include Bill Moggridge, who designed the first portable computer, Douglas Scott, responsible for the style of London’s iconic Routemaster bus, and Paul Priestman and Nigel Goode, who have worked with Virgin Atlantic and Virgin Trains, and are now focused on designing a concept capsule for World View that will take passengers on balloon flights to the edge of the earth.
Current student projects include the Metabin designed by MA Industrial Design student Fernanda Costa, a small-scale home anaerobic digester that can ‘eat’ household waste such as food and cardboard and transform it into energy. She now works as Industrial Designer at start-up Loowatt, a waterless toilet system that turns human waste into energy and fertiliser.
Ten Royal Designers for Industry for product or industrial design are UAL graduates, over half the awards for this subject area.
投稿者 unicon : 09:54
Anna Piaggi's Costume Drama【The Wall Street Journal】
When the style icon died last year, she left behind a colossal stockpile of clothing and accessories, the true extent of which only she knew. Now her family is struggling to find a permanent home for what might very well be the world's largest, unruliest most thrillingly unexplored closet.
Portrait ©David Bailey; Styling by Agnes Shultz
PORTRAIT BY DAVID BAILEY | Piaggi photographed for AnOther Magazine in 2003, wearing a hat designed by her friend Stephen Jones.
IN THE CAPRICIOUS WORLD of high fashion, there are two types of collectors: those who treat their acquisitions with white-glove care, cataloguing their inventory inside temperature-controlled shrines; and those who rip off the price tags, wear the hell out of their garments and then shove them back in their closets. Unsurprisingly, each views the other as deeply foolish.
Anna Piaggi, the late Italian fashion idol and longtime contributor to Italian Vogue, was the ultimate spontaneous and undisciplined fashion worshipper.
Until her death at age 81 last August, Piaggi lived with a vast collection of clothing in a dark and cluttered Milan apartment, where she continually begged her landlord to rent her extra rooms to accommodate an ever-expanding sartorial inventory. By the end of her life, 40 rolling racks had overtaken every wall in every room, where priceless pieces by Poiret from 1912 tangled with modern-day Dior and McDonald's staff uniforms. This supremely stocked closet was the source of the riotous outfits Piaggi created every morning, offsetting layers of valuable historical costumes, contemporary haute couture and worthless dime-store finds with her waves of dyed-blue hair, cupid-bow lips and powdered-white face.
"She was not a fashion curator," says designer Karl Lagerfeld, who first met Piaggi in the early '70s. "She lived with her clothes, old and new, and never paid attention to them in a special way. They were part of her daily life."
Piaggi died of a heart attack while watching TV at home alone. She was scheduled to finalize her pages for Italian Vogue's October 2012 issue the following morning, but she never made it to the meeting. With no children of her own, her clothes and accessories were passed on to her brother, Alberto. Overwhelmed by the size and significance of their inheritance, he and his son, Stefano, called Judith Clark, professor of fashion and museology at University of the Arts London, who had collaborated with Piaggi on a popular exhibition dedicated to her style at London's Victoria and Albert Museum in 2006. "We met down in the basement of her apartment building to see the clothes she had never shown anyone," Clark recalls of meeting Alberto and Stefano after Piaggi's funeral. "They were in one of the worst states of conservation I've ever seen, but at the same time, [her collection] was full of historic gems."
Piaggi's estate also piqued the interest of Milan's former cultural assessor, Stefano Boeri, who wanted to lay the foundation for the city's first fashion museum using the clothes. Alberto put Clark in touch with Boeri and together they began talking about creating a professional database for each piece, hoping to find a permanent home for them at Milan's Fabbrica del Vapore. But in March, Boeri was fired, and the plan disintegrated.
The collection now hangs untouched in her brother's storage space, its future uncertain.
DESPITE HER VERY LOUD LOOK S, Piaggi was a quiet woman. "She was very discreet," says Italian Vogue's editor in chief, Franca Sozzani, who worked with Piaggi for 23 years. "I never knew anything about her personal life."
Born in Milan in 1931, Piaggi was inducted into the fashion world by the photographer Alfa Castaldi, to whom she was married until his death in 1995, and with whom she collaborated on Arianna—one of Italy's first women's magazines—and the avant-garde publication Vanity. But her style compass was set by vintage dealer Vern Lambert, a longtime friend who introduced her not only to the allure of old clothes but to Karl Lagerfeld. (Her relationship with him was recorded in Karl Lagerfeld: A Fashion Journal, a book published in 1986 of his many sketches of Piaggi and her clothes.)
"The period after Vern Lambert died [in 1992] started to be a sadder period of her life," remarks Lagerfeld, who fell out with Piaggi around the same time. But even so, Piaggi continued to enthusiastically champion designers, acting as both muse and client to young names like Gareth Pugh and established talents such as Manolo Blahnik, who famously called her "the only authority on frocks left in the world." Another of her closest relationships was with milliner Stephen Jones—beginning in the '80s, she capped off every one of her looks with a hat bursting with anything from fruit and fur to a warped clock and dead pigeons.
Though she spent nearly a half century contributing to Italian Vogue, where her doppie pagine—double-page spreads of collages of text and images—revealed esoteric cultural references and an academic knowledge of fashion, Piaggi was best known for how she got dressed in the morning.
Whether it was for a lightbulb-flooded front-row seat along a runway, or a banal trip to the butcher (where she once ordered a slab of beef in 15th-century Milanese chain-mail regalia), her outfits were laborious constructions of fashion theater. "My philosophy of fashion is humor, jokes and games," she told WWD in 1978. "I make my own rules." She wore giant Union Jack capes with 19th-century pantaloons; nurses' uniforms with Manolo Blahnik boots; and dresses whose 'page layers' made her look like a walking novel.
Some might say Piaggi was a precursor to the conspicuously costumed bloggers, editors and aspiring glitterati who now populate fashion shows, hoping their pictures will end up online. But Sozzani disagrees. "You can't even compare the two—those people are sponsored by brands, and it's more like watching shop windows," she says. "Anna never wore something because it was the latest skirt or newest shoe. She experimented with fashion on herself and liked to have a story for each object she was wearing."
Those stories were about '20s Chanel dresses, costumes from the Ballets Russes and an entire wardrobe created in the 1870s for a Roman princess by Charles Frederick Worth (the world's very first haute couture designer), bought for her by Lagerfeld. But even with highlights such as these to give shape to her closet, its full extent remains a mystery. "Anna was the only one who had access to the clothes and who understood where everything was," says Moreno Fardin, Piaggi's assistant of 16 years. "Every once in a while she'd call me in to help her move a rack and then discover something—like the beautiful [Pierre] Cardin she got married in. She never archived anything."
For the 2006 Victoria and Albert exhibition, Piaggi provided the museum with a list of her wardrobe's contents: 265 pairs of shoes, 932 hats, 2,865 dresses, 1 exercise bike and 31 feather boas. "I am rather certain Anna made all of that up," says Clark. "She didn't have a clue as to what was in her closet."
When it came to getting dressed, Piaggi's intimacy with her clothes came quite literally at a price. "When you wear the dress, you also wear it out," says Pat Frost, director of textiles and costumes at Christie's. "Its value goes down, and it is much less likely it will end up in a museum." Conversely, in perfect condition, high-end couture can yield big results. A '30s design from Vionnet, according to Frost, can fetch over $75,000, while Christie's sold a Schiaparelli jacket for nearly $100,000 last November.
In 2009, when Christie's auctioned a small portion of Piaggi's best historical pieces, the 17 garments in the lot yielded an unspectacular $51,867. "The only truly successful item was a Jean Paul Gaultier cone dress [sold for $20,000]," says Rome-based fashion historian and curator Enrico Quinto. "This is a woman who used to use a Fortuny dress as a scarf. She was cutting and customizing her pieces. Anna desanctified the clothing. She deconsecrated it."
What now lays in storage is an assemblage of garments that reflects a full life. "The collection is more interesting as a whole rather than in single pieces," says Clark. "It's an accumulation of her looks and moods and how she wanted to dress up that day." But what's to be done with a collection that gives equal weight to Juicy Couture as Dior Couture? Alberto and Stefano Piaggi are hoping to organize a series of exhibits in Milan, "and maybe even a fashion show of her clothes," says her brother. "I don't think Anna would've liked to have been in a big museum."
Clark has offered to help the family make sense of the inventory. "It is such an idiosyncratic collection, and the point of the archive is to reveal exactly that," she says. "I think by documenting everything, we will keep all possible interpretations alive"—just the way Piaggi liked to dress.
投稿者 unicon : 12:23
Why study at University of the Arts London? 【The Guardian】
What do Stella McCartney, Yinka Shonibare, Paloma Faith, Ralph Fiennes and Neville Brody have in common? Their careers all launched at UAL
University of the Arts London is the world's leading specialist creative university, and host to the largest postgraduate arts and design community in Europe. At UAL, 2,745 postgraduate and research students study on an unrivalled range of courses across a wide number of disciplines: fashion and textiles; fine art; interior, spatial and product design; performance arts; media, graphics and communication. The university's six colleges are:
Some of the most renowned names in the arts and creative industries have graduated from UAL, including, among many others:
• Fashion designers Alexander McQueen, Christopher Kane, Jimmy Choo and Stella McCartney
• Musicians: Jeff Beck, Jarvis Cocker, Glen Matlock, Paloma Faith, Sade, M.I.A. and Florence Welch
• Artists: Peter Blake, Lucian Freud, Gilbert and George, Antony Gormley, Chris Ofili, Anish Kapoor, Yinka Shonibare and Gavin Turk
• Actors: Colin Firth, Ralph Fiennes, Tara Fitzgerald, Pierce Brosnan, Alan Rickman and Paul Bettany
• Film directors: Stephen Frears, Mike Leigh, Isaac Julien and Joe Wright
• Journalists and writers: Jefferson Hack, Dylan Jones, Helen Boaden, Adrian Searle, Alexei Sayle and Claudia Roden
• Photographers: Rankin, Tom Hunter and Platon
• Designers: Neville Brody, Jonathan Barnbrook, Terence Conran, Sebastian Conran, and Tom Dixon
UAL alumni represent:
Access to the creative industries
The university is unique in its links with industry and study at UAL involves 'live' projects with partner organisations such as Nike, Sony, WPP and L'Oréal Professionnel. Other partnerships include the Press Association, The Body Shop, Swarovski and LVMH.
The university's Student Enterprise and Employability Service provides a specialist arts support network for current and recent graduates, including business start-up advice, grants, workshops, networking opportunities and a work-placement website.
Leading tuition, facilities and research
UAL tutors are well-known experts, currently practising in their specialist fields. Each of UAL's six colleges offers a programme of extra lectures, gallery events, screenings and guest speakers (recent guests include graphic designer Michael Wolff; fashion designer Ben de Lisi, design innovator Tom Hulme and Grace Coddington, creative director of American Vogue).
Modern, workplace-style facilities include studios, workshops, media suites, galleries, catwalk venues and theatre spaces.
The university has established a world-class, sustainable research culture. UAL Research Online is the first research repository dedicated to art, design, fashion, communication and performance. The Archives and Special Collections Centre has received over 5,000 visitors since it opened five years ago and its largest archive is that of the late film-maker Stanley Kubrick.
High profile, research projects include:
• Catalytic Clothing. Harnessing the pollution-busting properties of titanium to create clothes that clean the air.
• Threat Mapping. A web application that tracks species at risk on a live, global map.
• Design Against Crime. Using the processes and products of design to reduce crime and promote community safety.
Scholarship and study options
UAL offers scholarships towards the cost of fees on many courses, including the university's own full-fee Vice-Chancellor's Scholarships. Other scholarships, bursary and funding opportunities are also available. Many postgraduate courses offer 45- to 60-week study options to allow students to complete their studies either in one intensive calendar year, or over two academic years, while working part-time.
A global experience in the heart of London
Students in the capital benefit from a thriving arts scene and creative industries in a vibrant and diverse city. Over 40% of UAL students come from outside the UK, and represent over 100 countries. The UAL Alumni Association helps over 200,000 graduates network across the world.
For course descriptions by college, level and subject, and for the application process, videos and online galleries across the university, visit the UAL website. Scholarship information is also available online.
Content on this page is produced and controlled by University of the Arts London
投稿者 unicon : 10:27