Fiber artist Xenobia Bailey makes crocheted hats that are anything but typical. Her hats are objects with odd shapes and forms, embellished with feathers and beads and luscious color combinations intricately woven into patterns that are outrageously beautiful one-of-kind hats. Her hats are eye grabbing. Each hat is a showstopper, and each wearer a performer turning passerbyers heads. On the streets people stop in awe of Xenobia’s hats curiously questioning. Where did you get that cool hat?
She’s embodies a modernist flair decked in stylish Mies Van der Rohe black round eyeglasses, her clothes crocheted in brilliant colors and patterns, and textures emotes what this prolific fiber artists calls, “funk.” As a fiber artist her hats are a blending of tactile textures, rich patterns and anthropomorphic shapes, seeing her hats I can’t help but think of the ebullient spices in New Orleans flavorful gumbo stew. She likens her aesthetic to the syncopated beats of funk music informed by African patterns found in textiles and architecture, and the rhythms of global music practices of call and response. She has BA in Industrial Design from Pratt Institute. Xenobia’s work links the symbiotic relationship between her design background and being a fiber-artist.
If you missed her exquisitely crocheted hats at the Global Africa Project held at Museum of Art and Design in 2010, then visit MAD.org for more information on her work. She’s represented by STUX gallery in NYC and listing on upcoming shows and more of her work can be found on Xenba.blogspot.com. Thinking of wearing an original Neo-Funky crocheted hat make sure to visit Xenobia Bailey’s Etsy shop.
GLIDE’12 rev’s up planning for the next symposium promises to surely be loaded with stellar presenters and topics. If you are interested in receiving information just leave me a comment, I’ll add you to our contact database. For now you’ll just have to settle for reading advisory board member Gloria Gomez’s review on GLIDE’10. The compelling and exciting work that was presented at GLIDE’10 can make designers feel proud of the powerful design contributions we can make to society on a global scale. The presentations mainly represented work on the facilitation, consequences, and challenges of cross-cultural collaboration in indigenous and underserved communities, and the effect of such on human/user experience. This review summarizes the conference facts, the conference schedule as well as discusses the presentations, blogging comments, and the virtual conference format. The review ends with concluding remarks and a summary of each presentation, photographs, and a hyperlink to the video recording published on YouTube –http://www.youtube.com/user/glideconference.
Table 1: Presenters and Topic Descriptions of GLIDE’10
GLIDE biennial virtual conferences disseminate cutting-edge research on global interaction in design. The virtual format bridges cultural and geographic divides in an eco-friendly manner. Truly interdisciplinary, GLIDE’s review committee invite submissions from design and design-related disciplines including: art, architecture, human-computer interaction, communication, information technology, computer science, and STEM disciplines. The first GLIDE’08 conference was held on October 22, 2008 and details can be found at http://www.glide08.org/.
Architect Craig L. Wilkins, design scholar Carol Tulloch, and art historian Kymberly Pinder at the Parsons conference (photos by Jonathan Grassi, courtesy of Parsons
Last weekend March 26 Parsons School of Design presented Black Studies in Art and Design Education addressed arguably the the disproportionate number of students and faculty of color in Design Schools not just in the United States but across the globe in countries likes England, Canada and South Africa. This major event was organized by Coco Fusco and Yvonne Watson professors at Parsons School of Design. I was not only in attendance, but I also spoke on a panel addressing the troubling gap that persist within the classrooms of design and art schools. Bill Gaskin, of Parsons moderated my panel Curricular Reform in the Foundation and Advanced Studio Courses presenters included Janice Cheddie, from UK, Van Dyke Lewis from Canada, Mabel O. Wilson of Columbia University and myself. It was such an exhilarating experience for me to interface with some of the best black scholars in design, architecture, art history and fashion, it is not often that such opportunities happen in one setting. I must commend Coco Fusco and Yvonne Watsons for taking a strident position and challenging the needs for an overhaul in the academe of design and art schools which is seriously long overdue for revision. Many of the big design and art schools had major showing of faculty and administrators from Pratt Institute, Yale University and MICA.
As reported in the Chronicle of Higher Education by By W. Ian Bourland
Although many of the themes discussed by panels composed of veteran educators and practitioners were not new, Black Studies was notable for its emphasis on concrete and pragmatic solutions for educators. The timing, moreover, could not be better: On the one hand, humanities and arts budgets within higher education have been roiled by recent economic challenges; on the other, the wider marketplace has capitalized on work by black and other minority practitioners during the past five years. The Phillips de Pury’s 2010 “Africa Auction” was highly lucrative for the auction house, and artists such as Glenn Ligon, Kara Walker, Yinka Shonibare, and Julie Mehretu have been the subject of marquee exhibitions in major global institutions, including the Whitney and Smithsonian museums.
Coming in March Black Studies in Art & Design Education Conference at the The New School
March 26th-27th 2011. Two Day Conference on interdisciplinary conference on Black Studies in Art and Design Education, featuring speakers from art, fashion. architecture, urban planning, art and design history and theory. Organised by Coco Fusco and Yvonne Watkins, Parsons The New School for Design, New York. Presenters include: Craig Wilkins, University of Michigan; Mabel Wilson, Columbia University; Noel Mayo, Ohio State; Carol Tulloch, Chelsea College of Art and Design; Jennifer Gonzales, North Carolina State University; Michele Y. Washington, School of Visual Arts; Kim Piner, School of the Arts Institute of Chicago; Noliwe Rooks, Princeton University; Clyde Johnson MICA are amongst the list of designers, cultural and design critics, and educators presenters.
The conference is intended to be a forum for reflection on the troubling gap between the notable significance of Black creativity in global culture and its lack of presence in art and design education. The goal of the conference is to elaborate and assess strategies of reform that would diversify curricular offerings and thus improve education for all art and design students while simultaneously generating a more supportive environment for Black students and faculty.
Scholars and practitioners in Fine Arts, Industrial Design, Fashion Design, Architecture, Urban Planning and Art and Design History and Theory will engage in an interdisciplinary discussion about the challenges involved in rethinking curriculum, engaging with historically disenfranchised communities, and recruiting and retaining Black students and faculty. The conference will also feature two keynote speeches by prominent members of the fields under figures whose efforts have been central to diversifying the many fields that comprise art and design studies. Panels will address the following topics: rethinking art and design theory and history courses in light of the global influence of cultures of the African diaspora; curricular reform in practical courses of art and design; strategies of engagement with black communities; Black student experiences in art and design schools; and the specific challenges of recruiting and retaining Black students and faculty in school of art and design.
FOODAM is a meeting point between the world of Art, Food and Design.
It lives in the whole city who becomes a place of exploration, exposure and debate on the future and innovation of food, its imaginary and its apparatus.
Send us your idea about the future of food. It could be a product or a prototype, a book or a infographic, a website or a process, a taste or a scenario, a restaurant or a recipie. Food talks about our life. Its future will change our world.
After following these writers since my college days, I can’t wait to see this conversational duo, Fran Lebowitz and Toni Morrison, featured Monday, 22 November on HBO, in ‘Public Speaking,’ directed by Martin Scorsese.
There aren’t a whole lot of job openings these days for philosophers, public wits and raconteurs. Fran Lebowitz pretty much has the monopoly to herself.
As recorded by no less than director Martin Scorsese in his new HBO documentary ‘Public Speaking’ (which debuts Nov. 22), Lebowitz is the last of a breed that once included such sparkling conversationalists as Dorothy Parker, Oscar Wilde, Oscar Levant, Jack Paar, Truman Capote, William F. Buckley, James Baldwin and others who could dine out on their witticisms and pontifications. read more on TVSQUAD.com
by Michele Y. Washington Click to hear Ron Eglash’s presentation.
Our final keynote speaker brilliantly closed out GLIDE10 on his continuous investigation on Culture and Science in the sphere of indigenous and vernacular cultures existing within the United States ethnic communities such as Asian, Latin American and African American. Ron gives an in-depth explanation of global indigenous cultures to dispel numerous myths that exist of such groups as being backwards, primitive and illiterate. This raises several fundamental issues of cultural sensitivity, and he provides specific examples from one project featured on his website on the process of mapping out Native American asymmetrical and symmetrical beading systems. For another project you can sample an example of African Architectural typology replicated through the application of African Fractals, an organic branching structure referencing nature.
This African Fractals project offers clear cut examples of his teaching methods applied in the cultural significance of the ancestral origins of cornrows for Black American students in high schools. His goal was to challenge the students to investigate the issues that surrounded the Black Transatlantic Slave Trade to the Americas and Caribbean, students were able to identify hygiene, resistance, retaining ones culture identity linking their own cornrow hairstyles to its origins. Other examples of paring the musicality of Hip-hop provide a broader sensibility of the connection as to why they wear this hairstyle. He’s developed a computation where he feeds in various iterations of how many plaits are in one braid. According to Ron, such concepts can be applied to other ethnic groups to gain a better understanding of the ancestral heritage. The Cultural expression opens the door to engage students to consider the various modalities of the design patterns replicated by cornrow hairstyles, which blurs the line between indigenous and vernacular design. He also looks at graffiti as a form of vernacular stereotyping. Ends his talk on Puerto Rican youth rooted to challenge the students through mathematical computation of Spanish music through rhythms and beats of the music. Summary of what limits racial intelligence, he states, while no one wants to talk about it, the thoughts loom in the back of many educators and peoples mind.
What part of collective memory fuels some of this iconic bead work, rug design, totems that are also evident in other global cultures such as Africans, Aboriginal, India, Middle Eastern, and Asian countries?
Defeating myths of cultural determinism
Using mathematics to bridge cultural gaps
Making cultural capital more available to its owners (individuals) Educational capital
Looking at new forms of hybridity for learning Peace and social justice efforts Environmental sustainability
Making contributions to mathematics, and inspirations Challenges:
Not all modeling of culture involves translation of indigenous or vernacular knowledge. Ethnomath: provide more evidences of application of knowledge Interesting concept over cultural ownership of whose holds on to authentic cultural heritage for example, Shawnee Native Americans. Alternative methods for kids to go from consumers to producers, makers by apply the discovery as a learning method.
GLIDE10: Fabiola Berdiel + Cynthia Lawson Development through Empowerment, Entrepreneurship, and Design presenters brings us up-to-date on Parsons School of Design ongoing mission of incorporating social responsibility in to learning processes as applied to several design disciplines such as product, architecture and more.
One great aspect of Parsons School of Design program is there hybridity of bringing students together from various disciplines to share information to build stronger coherent knowledge bases. The challenge is instructors function as facilitators, this mode of teaching forces the students to take a more interactive role to immerse themselves fully in there projects, and learn new platforms of studying beyond formal and informal methods of learning. Students also have the opportunity to acquire primary research through traveling to developing/emerging countries and explore various modes of practices while interacting with local people, investigating new materials and methods to enhance new ways of design thinking. This provides the student with practical and hands-on experiences to build a diverse dialog rooted in social and cultural constructs not available by just sitting in a classroom or surfing the internet.
Questions: I’m curious how the outcomes are measured by the students each semester? When the students interact with other cultures through travels, how does this figure into the collaborative process? How do these other ethnic cultures respond to the presences of your students?
I love the concept of students taking on the role of facilitators as a shared experience with this projects. How does this method evolve from semester to semester? Do the students view themselves as real agents of change? If so what are some of the outcomes?
What are the draws backs of the participatory process in this model of learning?
Susana Barreto presents her paper on the recent phenomenon of global design targeted at international markets, and the criticism of these scenarios which can create problems as they take a strong hold in the ethical models of international environments. She is vehement about how graphic designers need to move forward in this area and why designers need to develop new models and methodologies for global design markets, and not replicate methods being used by other design disciplines.
Does the keyword global design bring up issues of buzz words, while ignoring the specificity of cultures they are proposing to develop by lumping people together.
QUESTIONS TO CONSIDER:
What does Global Design mean to you?
Do designers need to apply the same techniques practiced by cultural anthropologists or ethnographer’s?
Susana discussion brings forth numerous questions, why are designers quickly latching onto clients seeking to globally expand into new markets?
Is global design another form of corporate colonization?
Susana discusses, the issues surrounding the existence of Darling toothpaste was once called Darkie toothpaste featuring negative stereotype of blackface minstrels.
Why are such ethnic stereotypes still used to sell products?
Let’s not forget Nikes sneaker design featuring the word “ALLAH,” inscribed on the back of the shoes. While Nike assumed they were being hip by there stylishly rendering of the word “Nike” in reality it was “Allah.”
Can you speak about the early 1990s controversial Benetton campaign created by photographer Oliveri Toscani, such as two young girls portrayal of angel and devil, and how these imaged fashioned to sell clothes tended to addressed negative assumptions of races, gender and sexism. Yet, the big questions arose at the time over commerce and fashion?
Lauri Lyons, a well-known documentary photographer has a new online publication, Nomads Magazine it’s a quarterly devoted entirely to global travel aimed at exposing its readers to many exciting cultural experiences that promises to take you around the globe. This magazine is guaranteed to be filled with adventuresome features stories and extraordinary black and white or color images by world renowned artists and journalists, who live their life on the run. Lauri also writes about culture and photography for the Huffington Post and this December she’s leading a NOMAD Photography Workshop in Salvador de Bahia.