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April 12, 2006

Fine Cell Work

http://www.finecellwork.co.uk/ix/home

Fine Cell Work is a Registered Charity that teaches needlework to prison inmates and sells their products. The prisoners do the work when they are locked in their cells, and the earnings give them hope, skills and independence.

Savings reduce the likelihood of offenders returning to crime. Prisoners often send the money they earn from Fine Cell Work to their children and families, or use it to pay debts or for accommodation upon release.

The inmates are all taught by volunteers from the Embroiderers Guild, the Royal School of Needlework and the world of professional design. Once trained, they can be responsible for difficult commissions done to deadlines, and support other inmates who are still learning.

April 07, 2006

Prisoners' Inventions

http://www.temporaryservices.org/pi_overview.html
Prisoners' Inventions by Angelo and Temporary Services


chess set


salt and pepper shaker

This project was a collaboration with Angelo, an incarcerated artist. He illustrated many incredible inventions made by prisoners to fill needs that the restrictive environment of the prison tries to supress. The inventions cover everything from homemade sex dolls, condoms, salt and peper shakers to chess sets. We collaborated on this project with Angelo for over two years. We had many additional collaborators who made a book, exhibition of re-created inventions and a prison cell possible. This page offers an overview of the project thus far.

"When first approached with the idea of illustrating examples of inmate inventiveness, I was skeptical, thinking that there would be little of real interest to depict. When I set my mind to the task, though, I recognized the surprising range of inventions and innovations that I had witnessed. I had just become so used to it all that the uniqueness no longer registered."

Temporary Services

http://www.temporaryservices.org/

As we live, so we work

Temporary Services is a group of three persons: Brett Bloom, Marc Fischer, and Salem Collo-Julin. We draw on our varied backgrounds and interests to incorporate our aesthetic practice within our lived experiences. The need to create change within our daily lives translates directly to our public projects.

The distinction between art practice and other creative human endeavors is irrelevant to us. We embed the creative work we present within thoughtful and imaginative social contexts and strive to create participatory situations.

We champion public projects that are temporary, ephemeral, or that operate outside of conventional or officially sanctioned categories of public expression. We appreciate such diverse activities as makeshift roadside memorials to accident victims, temporary housing encampments designed by homeless people, tree houses fabricated by children, and idiosyncratic public notices that get stuffed inside the display windows of free newspaper boxes. We like outdoor projects that are encountered by surprise rather than sought out with deliberation like exhibitions and special events. We especially appreciate those projects that do not have permission and challenge expected usages.

Exhibition: Black Panther Rank and File

http://www.ybca.org
Center for the Arts, Yerba Buena, San Francisco
First Floor Galleries: Mar 18 - Jul 2, 2006


Pirkle Jones, Women, Free Huey Rally, Oakland, 1968

We want freedom. We want power to determine the destiny of our Black Community.

So begins the ten-point political platform of the Black Panther Party. Coinciding with the 40th anniversary of the founding of the Party, Black Panther Rank and File offers a multifaceted look at one of the 20th century's most controversial and inspirational organizations.

The exhibition pairs rare artifacts--never-before-released documents, recordings, film clips and archival photos, including seminal historical photography--with artworks inspired by the movement and reflecting its liberating ideals. A range of photography, film and artworks from leading contemporary artists will reflect upon the Party's lasting legacy. Also on view will be works by artists who were creating during the rise of the Party. This complex and powerful exhibition uses the Black Panther Party as a lens through which we can explore the role artists play in inspiring social change, and in remembering and reflecting on human struggle and achievement.

Artist list:
Radcliffe Bailey
John Bankston
Ruth-Marion Baruch
Joseph Beuys
Margaret Bourke-White
Nick Cave
Emory Douglas
Ducho Dennis
Sam Durant
Coco Fusco
Ellen Gallagher
Leon Golub
Tony Gray
David Hammons
Ilka Hartmann
Barkley L. Hendricks
Lonnie Bradley Holley
Jeff Hull
It's About Time
Arthur Jafa
Paa Joe
Pirkle Jones
Kerry James Marshall
Daniel J. Martinez
Chris McNair
Zwelethu Mthethwa
Refa 1, Steve Jones and Toons
Paul Sequeira
Stephen Shames
Gail Shaw
Jeff Sonhouse
Carlos Vega
Roberto Visani
Andy Warhol
Carrie Mae Weems
and others

Creative Commons

http://creativecommons.org/

Creative Commons licenses provide a flexible range of protections and freedoms for authors, artists, and educators. We have built upon the "all rights reserved" concept of traditional copyright to offer a voluntary "some rights reserved" approach. We're a nonprofit organization. All of our tools are free.

About Us
"Some Rights Reserved": Building a Layer of Reasonable Copyright

Too often the debate over creative control tends to the extremes. At one pole is a vision of total control -- a world in which every last use of a work is regulated and in which "all rights reserved" (and then some) is the norm. At the other end is a vision of anarchy -- a world in which creators enjoy a wide range of freedom but are left vulnerable to exploitation. Balance, compromise, and moderation -- once the driving forces of a copyright system that valued innovation and protection equally -- have become endangered species.

Creative Commons is working to revive them. We use private rights to create public goods: creative works set free for certain uses. Like the free software and open-source movements, our ends are cooperative and community-minded, but our means are voluntary and libertarian. We work to offer creators a best-of-both-worlds way to protect their works while encouraging certain uses of them -- to declare "some rights reserved."

Luddites

http://en.wikipedia.org/wiki/Luddite

The Luddites were a social movement of English workers in the early 1800s who protested - often by destroying textile machines - against the changes produced by the Industrial Revolution that they felt threatened their jobs. The movement, which began in 1811, was named after a probably mythical leader, Ned Ludd. For a short time the movement was so strong that it clashed in battles with the British Army. Measures taken by the government included a mass trial at York in 1813 that resulted in many death penalties and transportations (deportment to a penal colony).

The English historical movement has to be seen in its context of the harsh economic climate due to the Napoleonic Wars; but since then, the term Luddite has been used to describe anyone opposed to technological progress and technological change. For the modern movement of opposition to technology, see neo-luddism.

E. P. Thompson's view of Luddism
In his work on English history, The Making of the English Working Class, E. P. Thompson presented an alternative view of Luddite history.

Luddites are often characterised, and indeed their name has to some become synonymous with, people opposed to all change--in particular technological change such as that which was sweeping through the weaving shops in the industrial heartland of England. They are often characterised as violent, thuggish, and disorganised.

E. P. Thompson advances many arguments against this view of the Luddites. He shows that the Luddites were not opposed to new technology, but rather to the abolition of set prices and therefore also to the introduction of what we would today call the free market.

Thompson argues that it was this newly-introduced economic system that the Luddites were protesting. For example, the Luddite song, "General Ludd's Triumph":

The guilty may fear, but no vengeance he aims
At the honest man's life or Estate
His wrath is entirely confined to wide frames
And to those that old prices abate

"Wide frames" were the weaving frames, and the old prices were those prices agreed by custom and practice. Thompson cites the many historical accounts of Luddite raids on workshops where some frames were smashed whilst others (whose owners were obeying the old economic practice and not trying to cut prices) were left untouched.

Secondly, Thompson counters the view that the Luddites were thuggish. There were remarkably few Luddite arrests and executions, and yet they operated highly effectively against the forces of the state. Thompson's explanation for this is that they were working with the consent of the local communities (or indeed were part of those communities).

Thirdly, Thompson argues that the Luddites were not disorganised. He notes that some of the largest Luddite activities involved a hundred men.

In short, Thompson feels that in caricaturing the Luddites as 'thugs' who just wanted to smash up new technology we are simply continuing the propaganda of the time. The reality, in Thompson's view, is that the Luddites were normal people who were protesting against changes of which they disapproved.

Evidence for this point of view has been further developed by Prof Kevin Binfield ('Writings of the Luddites' - see [1] ).-

Yinka Shonibare

Yinka Shonibare


"DRESSING DOWN"
Wax Print Cotton Textile

From an early stage in his work, Shonibare has employed the ambiguous materials and motifs of West African textiles. These fabrics seem to symbolise the rich complexity of post-colonial cultures in that, while the patterns and colours are thought to be authentically African, they actually originate from Indonesian Batik work,a technique which was industrialised by Dutch traders. The British adopted these processes, setting up factories in the North of England where Asian workers printed English designs for the West African market. So as Kobena Mercer notes the fabric has a mixed identity In Africa it has the allure of imported goods, in Europe it evokes exotica. More recently these cloths have been styled and worn by Black British and African American people as a visual signifier for a connection with and pride in their African roots.

Shonibare`s work examines the contradictions of both contemporary and historical portrayals of Africans living in Britain, a country built on hierarchies of class and race. He has made a series of sculptural pieces, using his trademark African textiles, which take the form of Victorian crinolines and bodices, transforming these usually staid and confining structures into bright, flamboyant sculptures. Many of his pieces have a highly crafted and decorative appearance but at the same time through their translation of materials or juxtaposition of references, provide a critical commentary on the way the orthodox history of art has judged, categorised or completely overlooked other histories, artists and works.

African Wax Print Fabric


African wax print fabric with pattern of electric shavers

How a Dutch company's batik textiles became the basis of "traditional" West African culture.
By Matt Steinglass, Metropolis Magazine

"Vlisco was founded in 1846 by a famous Dutch merchant family called the van Vlissingens," explains Joop van der Meij, the company's CEO. "One of the van Vlissingen sons had been in Indonesia, where he discovered the batik method of dying cloth. He had the idea that maybe this method could be industrialized in Europe." By the late 1800s Dutch factories were supplying the bulk of the Indonesian batik market, and as Dutch freighters stopped at various African ports on their way over, the fabrics began to gain an African clientele. At the beginning of the twentieth century, when measures were taken to protect domestic Indonesian batik production, the market for imports there slumped. Africa gradually became the exclusive market for Dutch batik, and by the 1960s Vlisco, having merged with all its rivals, had become the exclusive supplier.

In an industry where the reverse is more common, Vlisco is an anomaly: a European-based textile company whose market is in the third world. Almost none of Vlisco's product is bought in Europe or North America. ...

The patterns on the imitation fabrics, meanwhile, are often nearly identical to those on Real Dutch Wax, because the competitors steal them. Van der Meij claims that 80 percent of the designs one sees on wax-print fabrics in Africa started out on Vlisco drawing boards. The company has fought several successful legal actions, but the Asians are not to be deterred. Lately Nigerian textile makers have also been getting in on the act. "We can put the new fabrics out on the market as soon as the containers arrive from Holland," says Agbobli Médémé, service representative of Vlisco's Togolese partner company, V.A.C.-Togo. "The Nigerian copies start showing up eight days later."

So the authentic traditional West African fabrics are the ones produced in Holland, and the stuff made in West Africa is fake? Can this be right?

April 06, 2006

Situationists Online Library

http://www.nothingness.org/SI/

Texts by and pertaining to the Situationist International have been entered into a database, and are available at the Text Library by clicking the link on the left. The library is fully searchable, and features more texts than ever before. Information on related articles are linked from each text, and biographical blurbs about the authors are just a click away.

Situationist images and related graphics are available from the Images link, which currently offers a selection of graphics, and a picturebook of posters from May 1968 in Paris.

Links to other Situationist and prositu websites are available through Links.

The Independent School of Art

http://www.independentschoolofart.org/

The Independent School of Art is a nomadic experimental art school. Without institutional affiliations, degrees, or public funding, the school exists solely through the labor and efforts of it's participants, and thus fosters a proactive approach to college-level arts education, a real-world model where students are challenged to determine and create their own artistic realities. The school's barter-based tuition system makes explicit and direct the social contract between students and teachers and honors their collective labor as a vital form of cultural production. By existing without a site and locating nomadically, the school prioritizes social over physical architecture, and challenges students and teachers alike to imagine how their practice might intersect and respond to a larger set of physical situations and cultural possibilities. Since the ISA is not driven by tuition payments, employee payrolls, facility maintenance, fundraising quotas, degree granting and accreditation requirements it can be fluid and experimental, changing each semester to reflect the ambitions, personalities, and abilities of those in its community.

The Independent School of Art includes students of all ages, levels of experience, and disciplines in a one-room schoolhouse environment of shared learning and mentorship. The ISA prioritizes an action-based approach to arts education and cultural discourse and complements it's curricular offerings with student and faculty designed exhibitions, lectures, grants and publications. These multi-disciplinary public actions are a central part of the school's pedagogy, and serve a vital function by engaging the students in the direct creation of public culture.

founded by artist Jon Rubin http://www.jonrubin.net

Big Box Reuse/Julia Christensen

http://www.bigboxreuse.com/


The Sugar Creek Charter Elementary School
Charlotte, NC
Renovated K-Mart

As superstores abandon buildings in order to move into bigger stores, what will become of the walls that they leave behind? It is within the answer to this question that we are seeing the resourcefulness and creativity of communities dealing with a situation that is happening all over the country: the empty big box. Through travel and the study of buildings, Julia is researching the way people build their towns, creating the context for their own lives.

Julia Christensen began investigating How Communities are Re-Using the Big Box in January of 2004. Since then, she has been traveling around the country in her car, visiting the sites and meeting the people who are making these transformations possible. She has been collecting a growing collection of photographs, interviews, stories, and documents relating to the renovations, and has been giving presentations in these communities about how other towns are dealing with this common situation. While exhibiting photographs and installing video and sound work generated from her travels, she is currently working on a book documenting her research. Julia continues to develop her traveling exhibit of artifacts exploring How Communities are Re-Using the Big Box.

The term "big box" refers to a large, free-standing building with one major room. This model was made very popular by the corporations that created stores with minimal storage space, the stock items simply coming in off the truck and on to the shelves. Because "big box" is a fairly new term, and since there are variations on the concept, there have been several occasions upon which Julia has arrived at a site and the "big box" was not quite what she thought it was going to be. Nevertheless, there has been something important to be learned at each of this locations. Her research has led her down many side streets, as she has learned about the choices people make in order to shape their town in order to accommodate their community.

Weather Underground Organization

aka The Weathermen, The Weather Underground
Weatherman, known colloquially as the Weathermen and later the Weather Underground Organization, was a U.S. Radical Left organization consisting of splintered-off members and leaders of the Students for a Democratic Society. The group referred to itself as a "revolutionary organization of communist women and men." Their stated purpose was to carry out a series of militant actions to achieve the revolutionary overthrow of the Government of the United States, and of capitalism as a whole. Weatherman collapsed shortly after the U.S. withdrawal from Vietnam in 1975, which saw the general demise of the New Left, of which Weatherman had been a part.

Afghan War Rugs

http://www.warrug.com

The Art of Making Their Voices Heard
For thousands of years, the woman of nomadic tribes in what is now Afghanistan and its environs have been weaving rugs by hand. The oldest known and intact example of these rugs in the world is the "Pazyryk" rug dating from the 4th century B.C. (currently housed in the St. Petersburg Museum). These traditional pieces of folk art have long depicted the same deeply rooted motifs and patterns, with occasional images derived from the artist's everyday experiences. However, about 25 years ago, all that suddenly changed. Following the 1979 Soviet invasion into Afghanistan, rug dealers began seeing drastic alterations in the content of Afghani rugs. Tanks replaced flowers, rocket launchers replaced vases and airplanes replaced abstract borders!

After the Soviet departure from Afghanistan the new ruling power instituted the strict Muslim Sharia law which governs the religious, political, social, domestic and private life. This law stripped many Afghani women of basic rights including banning them from talking to men outside of their family, walking outside alone, or working. Women were also made to abide by the practice of purdah which is the seclusion of women from public observation by having them wear concealing clothing from head to toe, like a burka, and by the use of high walls, curtains and screens erected within the home. This separates the women from learning about the outside world in order to make them ignorant of the practicalities of life and deprives the woman of economic independence by not allowing them to work outside the home. In order to keep females submissive, women know only what their fathers, husbands, and sons want them to know. The women who practice purdah have no voice or free will.

For women who break the fatwas, or edicts, associated with Sharia law, including purdah, there are dire consequences including harsh beatings or even death. Additionally, since Sharia law dictates that it is taboo to represent animate subjects in art; weavers were no longer allowed to portray images of birds, animals or people.

Thus as the artists iconography changed so did their outlets for expressing it. Those living outside of the war-torn Afghanistan can't comprehend the reality of living in a world where the images depicted through the rugs are a part of everyday life. To the women of Afghanistan the rugs have become a way to make their voices heard and to communicate to the rest of the world what they live with everyday.

This new category of rugs has been termed "war rugs" and has sparked an underground movement in the art world. Many collectors see the rugs not only as art, but also as historical documents and a testament to the times.

from http://www.warrug.com

Afghan War Rugs: A Sub-group With Iranian Influence, An Exhibition of a Variant Type
by Ron O'Callaghan,

Recycled Re-Seen: Folk Art from the Global Scrap Heap

Recycled Re-Seen: Folk Art from the Global Scrap Heap
by Charlene Cerny

From Library Journal
The focus of this volume (and the associated traveling exhibition) is the increasing tendency of the world's folk artists to utilize the discards of our industrial and postindustrial consumer world as materials for their creations. In 11 essays, various scholars discuss topics ranging from the renowned history of the development of steel drum bands in the Caribbean to lesser-known examples of "recycled" art from India, Africa, Latin America, and the United States. The whimsical nature and surprising practicality of many of the objects depicted make the accompanying photos a visual delight. Highly recommended for academic collections, but the charm of the objects should make this appealing to the general audience served by public libraries as well.?Eugene C. Burt, Art Inst. of Seattle Lib.
Copyright 1996 Reed Business Information, Inc.

review

Imbenge Telephone Wire Baskets


Imbenge Telephone Wire Baskets
For centuries South Africa's Zulu people have been famous for the sturdy and beautiful baskets they weave from grasses and palm leaf. The weaving was so tight that the best ukhamba baskets were actually used to store beer! Today these baskets are still woven in the countryside, but the Zulus living in urban area have invented a new kind of basket, the imbenge basket woven entirely of recycled telephone wire. The baskets are as bright and colorful as the telephone wire, and very sturdy. They are also completely washable! In recent years people in craft cooperatives in the the neighboring nation of Zimbabwe have developed their own distinct style of telephone wire basket,



Detail of Jaheni Mkhize at work on a"soft basket".


Woven Telephone Wire-covered Bottle
Unknown artist - Zulu people, South Africa
Recycled telephone wire on glass bottle
(11 1/2" h. x 3 1/2" w.)

Knitta

http://www.myspace.com/knittaplease
bombing the neighborhood with fresh, aerosol-free knit graff!
Music: juice newton, knitta!
Movies colors
Television: who has time with all the tagging?
Books: new york subway cozies for the soul
Groups: Graffiti Artists , Rebel Art Grrrlz , Purl and Hurl , Stitchin' Bitches , Rubber Coin Purse Group , buy adrian landon brooks art , MARFA or BUST ! , Revolution Grrrl Style Now

article in the Houston Press, 12/15/05

Knit Bricks

knit bricks




hosted by supernaturale.com

Fashion Theory: The Journal of Dress, Body, and Culture

http://www.fashiontheory.com

Papa Wemba

Papa Wemba

Born: 1953, Kasai, Congo

Wemba gets credit for launching the Zaiko clan's trademark use of high fashion as a form of social rebellion. Wemba's dashing self-styled look-a 1930s throwback featuring baggy, pleated trousers hemmed above shiny brogues and hair clipped close at the sides-soon earned him the title Pope of the Sapeurs: Society of Ambianceurs and Persons of Elegance. The Sapeurs elevate a clothing fetish to a spiritual level to the extent of boasting their own "religion" called Katinda, which means cloth. The wildness of soukous and the excesses of the Sapeurs can be seen as channeled expressions of free spirits in an environment of political oppression and relentless conformity. During three decades of iron-fisted rule, Mobutu stifled all criticism of his government, and even enforced a national dress code for bureaucrats and businessmen.

FutureFarmers/Amy Franceschini

http://www.futurefarmers.com
http://www.futurefarmers.com/survey


Photosynthesis Robot is a three-dimensional sketch of a possible perpetual motion machine driven by phototropism- the movement of plants towards the direction of the sun. The motion of the plants upon this four wheeled vehicle would propel slowly over a period of time.


DIY Algae/Hydrogen Kit was a first time collaboration between Amy Franceschini and Jonathan Meuser. Currently scientists are testing and generating strains of algae to determine which one most efficiently produces hydrogen in a process called "biophotolysis". This is an exciting sector of research, but most of the activity takes place under highly controlled environments in laboratories within universities. Amy was interested in creating a "backyard/DIY" model which would allow people (not only scientists) to produce hydrogen. The notion of people producing their own power is exciting. Researcher, Jonathan Meuser used this opportunity to exhibit a model of "biophotolysis" to test a system in his backyard. His test was a success, in that it produced hydrogen and could demonstrate the process using off the shelf and found supplies.

DesignWritingResearch.org/Ellen Lupton

http://www.designwritingresearch.org

Ellen Lupton is a writer, curator, and graphic designer. She is director of the MFA program in graphic design at Maryland Institute College of Art (MICA) in Baltimore. She also is curator of contemporary design at Cooper-Hewitt National Design Museum in New York City, where she has organized numerous exhibitions, each accompanied by a major publication, including the National Design Triennial series (2000 and 2003), Skin: Surface, Substance + Design (2002), Graphic Design in the Mechanical Age (1999), Mixing Messages (1996), and Mechanical Brides: Women and Machines from Home to Office.

She met Abbott Miller as a student at The Cooper Union, where they graduated in 1985. They have two kids, Jay and Ruby.

MICA: micadesign.org
National Design Museum: ndm/si.edu/
e-mail Ellen: elupton@designwritingresearch.org

Supernaturale

http://www.supernaturale.com/

SuperNaturale is an independent site dedicated to the Do It Yourself culture in all its glorious forms. From simple afternoon home improvement projects to radical lifestyle choices- we love them all. We celebrate ingenuity, creativity and the handmade.

Treehugger

http://www.treehugger.com/

TreeHugger is a fast-growing web magazine, dedicated to everything that has a modern aesthetic yet is environmentally responsible. Our influential audience stops by frequently to check out the latest news, reviews and recommendations for modern yet green products and services. Consumers also rely on the directory to help facilitate their buying processes. TreeHugger is the most effective way for them to find well designed products that are also ecologically sensitive.

Counterfeit Chic

http://www.counterfeitchic.com/
by Susan Scaffidi

The history of fashion is a tale of innovation, but also of imitation. Trendsetters create and embrace new styles, but without copycats there would be no trends. This paradox lies at the heart of Counterfeit Chic.

Long before the digital revolution enabled the downloading of music and movies, the industrial revolution enabled the rapid copying of couture garments - and provoked similar public debates. U.S. intellectual property law, however, has traditionally been reluctant to engage the world of fashion. While large luxury retailers have begun to test the power of law enforcement personnel and the courts against blatant counterfeiters, these high profile handbag wars are only part of the story.

This site is about the culture of the copy within the multi-billion dollar global clothing and textile industry. It's about New York's Canal Street and Beijing's Silk Alley, but also about the cognitive and sociological reasons that make us want to buy or reject knock-offs in the first place. It's about political and legal developments, but also about why both technological efforts and the social norms of the fashion industry continue to be more effective than law in supporting creativity. It's about the centuries-long, arguably productive battle between designers and copyists, and also about why the modern world threatens to upset that balance. It's about the universal phenomenon of copying, and about the law's limited response.

Counterfeit Chic is a multivalent concept. Does it imply a false claim of elegance, assert a defiant redefinition of style, or make some other social/legal statement? Rather than begin with an answer, let's start a conversation.

Steal This Sweater

http://www.stealthissweater.com

1. Is this site advocating sweater theft?
No. For those of you born yesterday (or anytime during or after the Reagan years), StealThisSweater refers to Abbie Hoffman's Steal This Book, a survival guide and manifesto for those who fantasize about (or pursue) anarchy. The whole book has been stolen and posted online here, so be sure to take a look to see if you've got what it takes. Chris Buck suggested the website name after John Kerry lost the 2004 election and my previous site, KnittersForKerry.com became yesterday's news. Thank you, Chris. Abbie Hoffman was a radical with a sense of humor and a hatred of The Man. At StealThisSweater, we are not fond of The Man either.


"What's all this talk of dying for revolution? Live for it."
Not sure exactly who said it first, but it's in a poem dedicated to Diana Oughton, the Weatherwoman who died in a bomb blast in NYC in 1970. The bottom edge of the sweater says "Bring the War home" on the front and "All power to the people" on the back.

KnitKnit

http://www.knitknit.net/


KnitKnit is an artist's publication dedicated to the intersection of traditional craft and contemporary art. KnitKnit is published twice per year and includes interviews, profiles, articles, reviews and drawings. Each issue comes either with or without a limited edition, handmade cover created by a fine artist. KnitKnit can be purchased at bookstores, yarn shops, boutiques and art galleries across the US and in Canada, England, Ireland and France.

KnitKnit has been included in art exhibitions at the Baltimore Museum of Art, the Center for Contemporary Art (Rotterdam), Art in General (New York), ThreeWalls (Chicago), the Ambrosino Gallery (Miami), Gavin Brown's Enterprise at Passerby (New York), and the AG Gallery (Brooklyn).

In addition to the journal, KnitKnit produces receptions, film and video screenings, art shows, and other kinds of events.

KnitKnit was founded in 2002 by artist Sabrina Gschwandtner.

Joseph del Pesco

http://www.delpesco.com


Horwinski Poster Show
Nelson Gallery, UC Davis

This exhibition of fifty-five letter-press posters is just a small selection of the social and political event bills printed by Horwinski Press. Pulled from large stacks in the warehouse in Oakland, California, this accidental archive of popular history from the last fifty years is being exhibited for the first time.

The uncertainty of aesthetic authorship is notable as the clients of Horwinski often surrendered artistic control to the printers (mainly due to the technical limitations of the medium). The current proprietor, James Lang, and his father before him, are therefore largely responsible for the design of most of the material you see on view.

Several of the posters in this installation are considered "work-ups," samples for client preview, and were kept as a library of possibilities for future business. Upon close inspection you'll find the occasional inky fingerprint, hand-written note or spelling error which reveals changes and corrections in the printing process. Also in this mix are posters made for contemporary artists Jeremy Deller and Dave Muller. (James is also working on one for Richard Prince)

While letter-press printing has quickly become a nostalgic media form, pushed toward extinction by the flexibility of the full-color offset press, it's specific aesthetic and longevity are akin to the perseverance of black and white photography despite the invention of various forms of color imaging.

The events and images captured in this collection of material culture can retrieve fragments of vernacular memory, informing our idea of what it means to live in California.

(wall text from exhibition - Joseph del Pesco)

The Death and Life of Great American Cities

The Death and Life of Great American Cities by Jane Jacobs

"Streets in cities serve many purposes besides carrying vehicles, and city sidewalks-the pedestrian parts of the streets-serve many purposes besides carrying pedestrians..."

Statistically Improbable Phrases (SIPs):
perpetual slum, cataclysmic use, unslumming slum, high ground coverages, planning for vitality, secondary diversity, border vacuums, fashionable pocket, mixed primary uses, involuntary subsidies, myths about diversity, cataclysmic money, street interruptions, disorganized complexity, orthodox planning, dwelling densities, incidental play, city diversity, primary diversity, sidewalk life, primary mixture, visual interruptions, gray belts, net acre, effective district

How Buildings Learn

How Buildings Learn by Stewart Brand

From Kirkus Reviews
Brand founder of The Whole Earth Catalog and CoEvolution Quarterly, launches a populist attack on rarefied architectural conventions. A hippy elder statesman (once one of Ken Kesey's Merry Pranksters), Brand argues that a building can ``grow'' and should be treated as a ``Darwinian mechanism,'' something that adapts over time to meet certain changing needs. His humanistic insights grew out of a university seminar he taught in 1988. Catchy anti- establishment phrases abound: ``Function reforms form, perpetually,'' or ``Form follows funding.'' Thomas Jefferson, a ``high road'' builder, is shown to have tinkered his Monticello into a masterpiece over a lifetime. Commercial structures, Brand says, are ``forever metamorphic,'' as a garage-turned-boutique demonstrates. Photo spreads with smart and chatty captions trace the evolutions of buildings as they adopt new ``skins.'' Pointedly, architects Sir Richard Rogers (designer of the Pompidou Centre in Paris) and I.M. Pei (the Wiesner Building, aka the Media Lab at MIT) are taken to task for designing monumental flops that deny occupants' needs. Later sections track the social meanings of preservationism and celebrate vernacular traditions worldwide (e.g., the Malay house of Malaysia; pueblo architecture; the 18th- century Cape Cod House). Brand also documents his own unique habitats. He lives with his wife in a converted tugboat and houses his library in a metal self-storage container. Here, as throughout, Brand's self-reliant voice rings true--that of an engaging, intellectual crank. Brand makes a case for letting people shape their own environments. His crunchy-granola insights bristle with an undeniable pragmatism. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved. --This text refers to the Hardcover edition.

Rural Studio/Samuel Mockbee

http://www.ruralstudio.com

Mission
The mission of the Rural Studio is to enable each participating student to cross the threshold of misconceived opinions to create/design/build and to allow students to put their educational values to work as citizens of a community. The Rural Studio seeks solutions to the needs of the community within the community's own context, not from outside it. Abstract ideas based upon knowledge and study are transformed into workable solutions forged by real human contact, personal realization, and a gained appreciation for the culture.

Saviour Scraps

http://www.saviourscraps.org

The Diggers Archive

http://www.diggers.org
Overview: who are the Diggers?

The Digger Archives is an ongoing Web project to preserve and present the history of the anarchist guerilla street theater group that challenged the emerging Counterculture of the Sixties and whose actions and ideals inspired (and continue to inspire) a generation (of all ages) to create models of Free Association.

The Diggers were one of the legendary groups in San Francisco's Haight-Ashbury, one of the world-wide epicenters of the Sixties Counterculture which fundamentally changed American and world culture. Shrouded in a mystique of anonymity, the Diggers took their name from the original English Diggers (1649-50) who had promulgated a vision of society free from private property, and all forms of buying and selling. The San Francisco Diggers evolved out of two Radical traditions that thrived in the SF Bay Area in the mid-1960s: the bohemian/underground art/theater scene, and the New Left/civil rights/peace movement.

MicroRevolt

http://www.microrevolt.org
microRevolt projects investigate the dawn of sweatshops in early industrial capitalism to inform the current crisis of global expansion and the feminization of labor.


Knitting program: KnitPro
knitPro is a web application that translates digital images into knit, crochet, needlepoint and cross-stitch patterns. Just upload jpeg, gif or png images of whatever you wish -- portraits, landscapes, logos... and it will generate the image pattern on a grid sizable for any fiber project.

ReBlog

AVL Ville/Atelier van Lieshout

http://www.ateliervanlieshout.com

AVL-Ville is the biggest work of art by Atelier van Lieshout to date. This free state is an agreeable mix of art environment and sanctuary, full of well-known and new works by AVL, with the special attraction that everything is fully operational. Not art to simply look at, but to live with, to live in and to live by.

Atelier van Lieshout
http://www.ateliervanlieshout.com/
Recently, AVL developed a style where the absence of design has become an important issue, using industrial materials such as galvanized steel tubes used for scaffolding, and sheets of unfinished plywood. Their raw functionality stands in contrast with the series of colourful polyester sculptures that AVL produced recently: human figures in various postures and actions, but also a complete series of human internal organs, ranging from heart, and brain to liver, rectum and the male and female sex organs.


The design of the Shaker furniture of Atelier van Lieshout can be viewed in the light of one of its famous projects: AVL-Ville. This autonomous free state in the harbours of Rotterdam showed a resemblance to the communities of the Shakers that lived in the Northern parts of the United States during the 19th century. The Shakers lived a completely self-sufficient and celibate life. Because of their religious background they isolated themselves from the outside world, and at the same time they survived by having their own systems in agriculture and craft work. The furniture they developed was highly innovative for those days and they considered the perfection of the final product as one of their life tasks.

This Is the Public Domain

www.thisisthepublicdomain.org
Amy Balkin

Extreme Craft Blog

http://www.extremecraft.com/
Garth Johnson

"A compendium of craft masquerading as art, art masquerading as craft, and craft extending its middle finger."

Obsessive Consumption

www.obsessiveconsumption.com
Kate Bingaman

Packard Jennings

http://centennialsociety.com/durham.html

"A Day at the Mall"

"Bible Sticker"

Craftivism

http://www.craftivism.com
Betsy Greer
*wee, yet mighty