In an era of virtual reality the prospect of visiting an exhibition dedicated to products of designer craft presents a salutary experience. Here, at least, one can be assured of an encounter with the visual imagination made tangible; ideas translated into something that can be touched, held, worn, or reclined upon. The exhibition DUBH – Dialogues in Black, is an eye and mind-opening example of what contemporary designers are thinking about and actualizing at the cutting edge of our engagement with material culture.
Stemming from an initiative developed by Irish craftsman Joseph Walsh’s organization, STUDIO practice, and curated by Irish artist Brian Kennedy, the premise of the show is to place contemporary Irish craft and design practitioners in concert with their U.S. and international peers, demonstrating the vitality of Irish designers and drawing attention to the greater innovative achievements current in contemporary craft and design practice. You can put away your fusty expectations of finding the traditional crafts associated with Ireland – Aran sweaters, bawneen knits, country pottery, Donegal tweeds – and prepare to embark on a distinctly twenty-first century experience. Most of the craftspeople here seem to be considering contemporary notions of biology, genetics, even particle physics, disposing of historical attitudes toward craft practice, or confronting good old fashioned cultural myopia. “Dialogues in Black” may be the organizing principle behind this collection (dubh – pronounced duv – is the Irish for black) but the range of forms, feelings, and ideas at play here presents quite a varied sampling of treasures. Kennedy appears to have reached wide and far, and he is to be commended for both the breadth of the show and for permitting the “dialogue” that occurs to flow so sleekly about the gracious and somewhat period styled interiors of the AIHS’s rooms. An artful balance is struck, never permitting any exhibitor’s contribution a domineering presence or freer rein than the others. He knows how to show this stuff.
The other day I was walking by myself, minding my own business down Riverside Park, trying to have some me time with . . . well . . . me, and I noticed these pianos just lying there unattended. So I snapped a shot and did some snooping around, and found out about a fantastic non-profit called Sing for Hope, and their Play Me I’m Yours arts project.
Elizabeth and Mary Linley — The Linley Sisters / Oil on canvas by Thomas Gainsborough (1727–1788)
Living in New York, flanked by some of the best museums of the world we often tend to forget that our city is home to some of the best small collections as well. Last Sunday I spent some time reacquainting myself with the Frick Collection and I was reminded just how much I enjoy this museum.
My main reason for going was to see The Linley Sisterswhich will be on exhibit until the end of the month, but even if you can’t get there by then there are hundreds of other marvelous gems that may be calling you.
We have a special The Wo(Man) In The Window this week. Some of you might have already seen this video, read the New York Post article or have strolled down to XOXO to experience their “Window Theater”, not your average live model display.
This story was prepared by Justin Rocket Silverman for The New York Post, you can read the full article here.
Sentient City almost sounds like science fiction, but it is the opposite actually. These are actual techniques and devices to help the system of the city (through the people that live within it) become more aware of the processes within itself through mobile technology and designed in feedback systems in order to make cities more sustainable as well as more interesting. Last Friday I went up with my friends Tom and Jason to 51st St and 6th to check out the Sentient City exhibit. The space isn’t huge, but what you see are prototypes and new possibilities of design ideas created to change or allow new behaviors in people.
