Archive for the ‘Research’ category

TEXTILE TOOLBOX online exhibition

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The TEXTILE TOOLBOX exhibition launches online on 13th November. It is a showcase of ten propositional design concepts inspired by Mistra research into the sustainability of the fashion and textile industry.

The exhibition platform functions as a research and public engagement 
tool formed around TED’s ‘The TEN’ – design strategies for innovative sustainability thinking and action. The exhibition proposes how these strategies can translate technical and scientific research breakthroughs into design concepts. The new products demonstrate the potential for progressing a sustainable fashion system with new materials, processes, applications and business models. The exhibits are a starting point for discussion – provocations, or ‘provotypes’ – showing us how design tools can create entirely new visions for the future of the industry. This unique online platform offers a global audience a glimpse of a sustainable future fashion industry. An industry that ultimately gives the consumer pleasure whilst also giving the planet and its inhabitants absolute consideration.

The final design pieces use a strategic ‘TEN’ approach to create beautiful fashions for style fans to savour, with aesthetics connecting and responding to the scientific research of the MISTRA Future Fashion consortium.

Exhibits:

1. Seamsdress, by Dr Kate Goldsworthy

2. A.S.A.P (Paper Cloth), by Prof Kay Politowicz, Sandy MacLennan (East Central), Dr Kate Goldsworthy, David Telfer (COS) and Dr Hjalmar Granberg (Innventia)

3. Shanghai Shirt by Prof Becky Earley (Research Profile) and Isabel Dodd

4. Inner/Outer Jacket by Clara Vuletich

5. DeNAture, by Miriam Ribul in collaboration with Hanna de la Motte (SP)

6. ReDressing Activism, by Prof Becky Earley, Emmeline Child and Bridget Harvey

7. Smörgåsbord, by Melanie Bowles (Research Profile) and Kathy Round

8. Sweaver, by Josefin Tissingh

9. Fast Refashion, by Prof Becky Earley

10. A Jumper to Lend, A Jumper to Mend, by Bridget Harvey

Resources:

The collaborations with scientists, academics and professionals, have lead to Tool Kits for action, instructions for making, resources for learning, and films to sit back and watch. International training tools and education models will be available from the site as a free download in the final report in June 2015.

Open Call:

We will also invite a global fashion design audience to submit their own sustainable future fashion projects to us, and selected works will be showcased in an open gallery on the site. We also invite reviewers to send us feedback on the exhibition and to contribute to our final project report. Get in touch for the opportunity to be part of this exciting process.

For more information:

Film // Festival success for LCC staff

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Still from ’72-82′, William Raban.

Three members of LCC staff, William Raban, David Knight and Brad Butler, have recently been featured in film festivals around London, balancing their roles as academics and active practitioners.

Professor of Film William Raban had ’72-82′, his latest film, selected by 2014′s London Film Festival (LFF). ’72-82′ explores the first ten years of groundbreaking London arts organisation Acme Studios and their critical work in housing some of the most renowned artists of our time, such as Richard Deacon and Anthony Whishaw.

Despite having more than 50 films under his belt, William describes the making of ’72-82′ as a “completely new experience”, as it solely uses archival visual materials to revisit the formative years of the organisation.

In addition to screenings at the BFI and Acme Studios, the feature-length documentary will also be screened at LCC’s Inside Out Festival, where William is in conversation with acclaimed sculptor, the two-time Turner Prize-nominated Richard Wilson.

David Knight’s work as Senior Lecturer on BA (Hons) Film and Television at LCC has taken him beyond teaching, as he enjoys success as Director of Photography on ‘The Quiet Hour’, which was nominated for Best UK Feature Film at the 22nd Raindance Film Festival.

“It is hugely satisfying to bring my professional practice back to the classroom. Working at features level brings into play a whole new set of skills to disseminate through workshops at LCC,” said David.

Recently appointed LCC Research Fellow Brad Butler continues the trend with a screening of his short film, ‘The Unreliable Narrator, at this year’s LFF.

Read profiles of William Raban, David Knight and Brad Butler

Read about BA (Hons) Film and Television

Read about Brad Butler’s work at the Hayward Gallery

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LCC Research Fellow Brad Butler exhibits at Hayward Gallery

Image: Film still from work by Brad Butler and Karen Mirza

Image: Film still from work by Brad Butler and Karen Mirza

Two films by Brad Butler, a London College of Communication (LCC) Research Fellow, feature in Hayward Gallery exhibition MIRRORCITY, open now until Sunday 4 January 2015.

MIRRORCITY explores the effect the digital revolution has had on our experiences. It includes recent work and new commissions by emerging and established London-based artists who seek to address the challenges, conditions and consequences of living in a digital age.

Brad completed a PhD at LCC under supervisor William Raban and has since become a Post Doctoral Research Fellow at the College.

Brad and his creative partner Karen Mirza have been shortlisted for the sixth Artes Mundi Prize, the UK’s biggest contemporary art prize, and will exhibit with other shortlisted artists in Cardiff from 24 October 2014 until 22 February 2015.

UAL Research caught up with Brad to find out more about his current projects.

Tell us about the work you are showing in MIRRORCITY.

I am showing a new work, ‘Everything for Everyone and Nothing for Us’, alongside an existing work, ‘Hold your Ground’. Shown side by side, these two films speak to each other, though there’s a slight awkwardness about their conversation. They are both about languages of protest, and the relationship of the body to protest.

‘Everything for Everyone and Nothing for Us’ is set in a TV studio, where a protester-in-training listens to audio extracts from a political speech by Margaret Thatcher. Having absorbed the sounds, the protester uses movement to exorcise Thatcher’s voice, retraining the body to resist capitalism.

In ‘Hold Your Ground’, the same protester struggles to turn utterances into speech. Her efforts are interrupted by archive footage of protests in Egypt, Northern Ireland and London. Eventually, she manages to pronounce four phonetic phrases reconstructed from Arabic, meaning ‘hold your ground’, ‘Egyptians’, ‘homeland’ (of the earth, of the Nile) and ‘strike’.

The title of ‘Hold Your Ground’ is taken from the pamphlet How To Protest Intelligently. ‘Everything for Everyone and Nothing for Us’ echoes the slogan of the Mexican Zapatista liberation movement, which began its struggle against neoliberalism, exploitation and racist oppression in 1994.

Why did you choose LCC for your PhD studies, and how did you find the experience?

I chose LCC based on the supervisors primarily. William Raban and Elizabeth Edwards understood my project and process. It was, for me, a perfect match of expertise and timing, and before I knew it I was in the programme supported by LCC’s Research department to find funding.

From there it was a great experience and formative for my work. While academia may not suit every praxis, it proved to be a chance for me to go deeper in a supported semi-autonomous way.

The links later on to a post-doctorate have felt natural. So far I have been encouraged and I feel I fit. Basically, over the last 19 years of being an artist I have worked out the hard way how important it is to work with the right people. Even great ideas will become exhausting if that is not a priority.

Brad Butler talks about his research at LCC's Graduate School Festival, May 2014. Image © Lewis Bush.

Brad Butler talks about his research at LCC’s Graduate School Festival, May 2014. Image © Lewis Bush.

Read the original interview in full on the UAL Research pages

Read Brad’s Research profile

Read more about Research at LCC

The post LCC Research Fellow Brad Butler exhibits at Hayward Gallery appeared first on London College of Communication Blog.

Brad Butler, LCC researcher, exhibiting at the Hayward Gallery

Brad Butler

Image: Film still from work by Brad Butler and Karen Mirza 

Two films by Brad Butler, a researcher at London College of Communication (LCC) will be featured in a new exhibition at the Hayward Gallery, called MIRRORCITY from 14 October 2014 to  4 January 2015.

MIRRORCITY explores the effect the digital revolution has had on our experiences. It shows recent work and new commissions by key emerging and established artists working in the capital today, who seek to address the challenges, conditions and consequences of living in a digital age.

A specially produced ‘alternative’ newspaper has been created by Tom McCarthy for MIRRORCITY. The project was conceived as a collaboration between the author and the artists featured in the exhibition. Artists have contributed a diverse and distinctive array of texts and pictures that McCarthy has edited into an otherworldly reading experience.

Brad completed a PhD at LCC with William Raban as his supervisor and has since become a Post Doctoral Research Fellow at the College. Brad along with his creative partner, Karen Mirza have been shortlisted for sixth Artes Mundi Prize, the UK’s biggest Contemporary Art Prize and will be exhibiting in Cardiff from 24 October 2014 and 22nd February 2015. 

Tell us what work you are including in the show, and why did you choose this work?

I am showing a new work, Everything for Everyone and Nothing for Us alongside an existing work, Hold your Ground. Shown side by side, these two films speak to each other, though there’s a slight awkwardness about their conversation. They are both about languages of protest, and the relationship of the body to protest. Everything for Everyone and Nothing for Us is set in a TV studio, where a protester-in-training listens to audio extracts from a political speech by Margaret Thatcher. Having absorbed the sounds, the protester uses movement to exorcise Thatcher’s voice, retraining the body to resist capitalism.

In Hold Your Ground the same protester struggles to turn utterances into speech. Her efforts are interrupted by archive footage of protests in Egypt, Northern Ireland and London. Eventually, she manages to pronounce four phonetic phrases reconstructed from Arabic, meaning ‘hold your ground’, ‘Egyptians’, ‘homeland’ (of the earth, of the Nile) and ‘strike’.

The title of Hold Your Ground is taken from the pamphlet How To Protest Intelligently. Everything for Everyone and Nothing for Us echoes the slogan of the Mexican Zapatista liberation movement, which began its struggle against neoliberalism, exploitation and racist oppression in 1994.

Were you approached by Tom McCarthy and what has it been like working with him?

There is a newspaper edited by Tom accompanying the Hayward Show with work submitted by  all the participants in the exhibition. Tom has then cross edited and retitled the submitted text, pictures or provocations to create something new. Somehow no one has complained, and he has made something more than the sum of its parts. An early draft I saw was very funny.

Why did you choose to study your PhD at LCC? Was it a good experience?

I chose LCC based on the supervisors primarily. William Raban and Elizabeth Edwards understood my project and process. It was, for me, a perfect match of expertise and timing, and before I knew it I was in the programme supported by LCC research department to find funding. From there it was a great experience and formative for my work, while academia may not suit every praxis, it proved to be a chance for me to go deeper in a supported semi autonomous way.

The links later onto a post doctorate have felt natural. So far I have been encouraged and I feel I fit. Basically over the last 19 years of being an artist I have worked out the hard way how important it is to work with the right people. Even great ideas will become exhausting if that is not a priority.

Part of the #inspiringresearch series

Charlotte Hodes, Professor in Fine Art, LCF joins the Jerwood Drawing Prize Panel discussion

Hodes won the Jerwood Drawing Prize in 2006 and had a drawing  selected for the Jerwood Drawing Prize 2014. The exhibtion includes 51 drawings by 46 practitioners selected from 3,234 submitted works.  The selectors for the Jerwood Drawing Prize 2014 were:

  • Gavin Delahunty, Senior Curator of Contemporary Art, Dallas Museum
  • 
Dr Janet McKenzie, Author and Co-editor of Studio International
  • Alison Wilding RA, Artist

The  panel discussion is chaired by Paul Thomas with
 Charlotte Hodes (Artist), Janet McKenzie (Selector)
 and Anita Taylor (Director of the Jerwood Drawing Prize).

Monday 13 October 2014, 6.30pm – 8pm

This is a free event but booking is advised. Book here

The exhibition runs from 17 September to 23 October 2014. 17 SEPTEMBER – 26 OCTOBER 2014

Lara Torres, LCF PhD student, exhibiting at ‘The Future of Fashion is Now’ in Rotterdam

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The Future of Fashion is Now 

Exhibition
11 October 2014 – 18 January 2015
Museum Boijmans Van Beuningen, Rotterdam

The fashion artist and practice based researcher at the London College of Fashion Lara Torres is taking part this autumn exhibition at the Museum Boijmans Van Beuningen with her video installation ‘An impossible wardrobe for the invisible’ (2011).This project goes beyond the boundaries of fashion design to rethink the designer’s task and open a discussion about the importance of clothing and the transience of fashion and it is based in the creation of temporary clothes that are produced with the aim of being destroyed; leaving only the ‘memory’ of the pieces in video documentation relating to the ephemeral nature of fashion, also as a metaphor for the quickness of the fashion system today.

The exhibition ‘The future of fashion is now’ presents the future of fashion. A garment that reacts to emotions, lace patterns grown from a plant, fabric that breaks off and fashion that literally zips people together. Taking a critical view of the current fashion system, more than fifty international designers are showing innovative work at the cutting edge of fashion and art. With the latest generation of fashion designers from all over the world and renowned innovators like Viktor&Rolf, Martin Margiela, Hussein Chalayan and Iris van Herpen.

Lara_Torres_2011_An_impossible_wardrobe_stills_01 Lara_Torres_2011_An_impossible_wardrobe_stills_06

 

LCC Inside Out

LCC is excited to be a part of the Inside Out Festival 2014! The festival, which is curated and produced by TCCE (The Culture Capital Exchange) in association with Times Higher Education, aims to highlight the capital’s cultural and creative kudos from the inside out.

Inside Out will showcase, for the fifth year running, the fascinating contribution made by London’s universities to the city’s cultural life. A huge number of events will take place both on university campuses and at other leading London venues throughout the week.

The wider public is encouraged to participate in a broad range of activities from the performing and visual arts through to literature, design, fashion as well as the sciences and social sciences.

Below are details and booking links for the events that LCC will be hosting this year:

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‘Framing the Elephant’
Monday 20 October 2014

A day of pop-up drawing for people who draw and people who don’t!

This events encourages attendees to stop, look, and draw, by creating fast, fun drawings of the view from inside London College of Communication.

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’50 Years of Illustration’
Monday 20 October 2014

Professor Lawrence Zeegen, Dean of the School of Design at London College of Communication, presents his book ’50 Years of Illustration’, charting contemporary illustration’s rich history, in a lecture accompanying a major exhibition.

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‘Is Silver Surfing the Solution for Social Isolation?’
Tuesday 21 October 2014

This expert panel debate brings together leading researchers, practitioners and industry professionals to discuss how digital and social media can tackle loneliness and social isolation amongst people over the age of 65.

72-82

’72-82: Richard Wilson in conversation with William Raban’
Thursday 23 October 2014

This screening of ’72-82′ will be followed by a discussion between the film’s creator and LCC Professor of Film William Raban and Richard Wilson, renowned sculptor. ’72-82′ tells the story of the first ten years of Acme Studios and their groundbreaking work providing artists’ housing and studios in London.

View and book Inside Out events at LCC

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Professor Reina Lewis interviewed by Islam Channel to give commentary on the growing spending power of the Muslim consumer

reina

Reina Lewis, Artscom Centenary Professor of Cultural Studies, London College of Fashion, was interviewed by the Islam Channel for a documentary about the Islamic economy to give commentary on the growing sector of fashion in the Islamic world.

The documentary will be repeated on the Islam Channel (Sky 806) on Friday 22nd August at 9pm (originally aired on Wednesday 30th July, 2014).

It is also now on YouTube and you can watch it via this link:

The Islamic Economy

Professor Reina Lewis’ research profile

LCC graduate photographer Max Colson awarded £15,000 grant from Leverhulme Trust

Max Colson 04

From ‘Hide and Seek: The Dubious Nature of Plant Life in High Security Spaces’

Recent MA Photojournalism and Documentary Photography (Online) graduate Max Colson has been awarded a Leverhulme artist-in-residency grant of £15,000 to work with the UCL Urban Laboratory.

Max will work at UCL with the Laboratory’s Director, Dr Ben Campkin, in a residency titled ‘Hide and Seek: The Dubious Nature of High Security Spaces’.

The residency will develop Max’s final LCC MA project, extending the photographic investigations of his photojournalist alter ego, the paranoid Adam Walker-Smith, into the UK’s hidden infrastructure of security design and control.

The project aims to heighten viewers’ awareness of the way that security design, surveillance and paranoia interact within the urban environment, also using humour to highlight the limits of photography as documentary evidence.

Natural Surveillance

From ‘Hide and Seek: The Dubious Nature of Plant Life in High Security Spaces’

We caught up with Max to find out more:

How did you become interested in the area of surveillance and security design?

I originally became interested in exploring how surveillance and security apparatus can be hidden within everyday public space. Delving into this area on my MA, I then became fascinated with highlighting the logistical and psychological difficulties of photographing ‘hidden’ security apparatus when one cannot easily tell where and what it is.

What do we need to know about your photojournalist alter ego Adam Walker-Smith?

Having discovered the landscape design programme ‘Crime Prevention Through Environmental Design’ (‘CPTED’), Walker-Smith realised that high security public spaces in London, which present themselves as being free and open, actually covertly guide behaviour through security design and monitor human activities through extensive surveillance infrastructure. The reason these things are not often observed is because they are carefully hidden and softened by the strategic deployment of vegetation.

This illuminating finding led to what could only be described as Walker-Smith’s intense paranoia as to the ‘innocence’ of all plant life in these spaces. His resulting photographs dramatically expose what he sees as the ‘suspect’ plants of securitised urban spaces (these plants are so-called for posing as ‘innocent’ decoration whilst actually being hidden parts of the security apparatus).

What does receiving this grant mean for you?

It gives me the financial freedom to focus on developing this particular project for a whole year, in collaboration with cutting edge researchers from UCL and other experts in the field of security design, which will culminate in an ambitious and immersive exhibition in Canary Wharf.

Also, as any artist will tell you, doing personal projects is an often solitary activity; when organisations support your projects like this it’s pretty incredible.

What direction do you hope to take your work in during your UCL residency, and beyond?

I’d like to develop Adam Walker-Smith’s investigation into the nature of hidden security design and present it as an immersive mixed media exhibition at Canary Wharf that makes people re-evaluate the public space that they use on a daily basis.

Photographic prints on a wall will be one element for sure but, in collaboration with built environment academics at UCL, I would like to create opportunities for the audience to engage with the project using a combination of interactive and audio elements; this will (I hope) bring the project, its exhibition and my photographic practice to the next level.

Tell us something you’ve discovered during Hide and Seek that surprised you.

Plants are incredibly versatile.

What most excites you most about the prospect of working within the UCL Urban Laboratory?

It’s a home to leading researchers engaged in the planning and design of the built environment; my work feeds on the research and critical ideas of these professionals, so it’s a fantastic opportunity to develop my work by being in such close proximity.

Which photographers or photojournalists working today do you most admire?

There are honestly too many to mention but I particularly enjoy the work of artists who playfully critique the nature of photographic documentation and/or its prevalence in the digital age, e.g. Joan Fontcuberta, Walid Raad, Mishka Henner, Taryn Simon, Thomas van Houtryve and Michael Wolf etc etc.

BW headshot

Max’s residency will take place across the 2014-5 academic year.

Read about MA Photojournalism and Documentary Photography (Online)

Read Max Colson’s LCC alumni profile

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Nathan Shedroff Gives Five Tips For Design-Oriented MBA Students

Photo Credit: Nathan Shedroff

Photo Credit: Nathan Shedroff

In our second guest-post by Nathan Shedroff, the program chair of the Masters in Business Administration (MBA) in Design Strategy at the California College of the Arts, Nathan fuels from the success of his course to share helpful insights. Here, he gives five tips for design-oriented MBA students.

1) Numbers aren’t that scary. What likely scares design students is the experience of dealing with quantitatively-focused people who think that the numbers ARE the story (and all of it) instead of just a part of the story that needs to be told. Numbers should never make the decision (and this includes “big data”) but they should inform decisions and designers can’t be afraid of what numbers say.
2) Designers go into design fields because they’re comfortable with the qualitative in life. Traditional business people (and most business students) go into business because of the opposite—they trust numbers and “recipes” and feel lost without them. That sets-up a natural dichotomy (or even conflict). But both are necessary for informed strategy and decisions, as well as execution. Designers can help their peers better understand the power and qualitative value (which FAR outweighs quantitative value and is actually what most business people are after—they just don’t realize it or know how to phrase it). And, since most of our business peers aren’t willing to learn our language or processes, it’s up to us to learn theirs and be the translators.
3) Designers weile an incredible amount of influence (which is, ultimately, where leadership lives) because they can communicate visually. I’ve seen designers excel repeatedly within teams of mixed skills and experience because they can sketch something others are trying to articulate. In addition, our presentations are often more clear and attractive and strategy is about storytelling, after all.
4) Many qual people enter traditional business programs thinking that business has to be dry and serious to be legitimate. It doesn’t. Most “natural” business leaders and entrepreneurs know that people and ambiguity are opportunities to play, explore, and find new opportunities that others don’t see. The three tips above should explain why. A traditional degree doesn’t confer legitimacy or quality in and of itself—even at a hallowed institution. Some of the most respected programs in the world are ridiculously behind when it comes to teaching contemporary leadership, collaboration skills, design thinking, systems thinking, or project-based learning (instead of reading and regurgitating past cases). Students should look for programs that feel innovative in curriculum, teaching methods, and environment if they hope to be equipped for success tomorrow. The past isn’t an armory for the future.
5) By all means, don’t go join a business program right out of an undergraduate degree. This isn’t like an engineering, medicine, or law degree. As much as you’re rushing to become the business leader or designer you want to be, business programs require some experience to work from. Five—or even three—years of work experience gives students materials and lessons on which to draw and learn. We’ve had students ranging in age from 23 to 60 in the DMBA programs and I’ve seen the same lesson played-out in other MBA programs, as well: students simply learn more and “get more for their money” the more experience they have before they enter an MBA program.
- Nathan Shedroff, Program Chair, MBA in Design Strategy, California College of the Arts
As always, we welcome your thoughts via our survey at the bottom of the CSM MBA course page.

 

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