Archive for the ‘spirituality’Category

Xenobia Bailey: The Aesthetic of Funk

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. 

21

04 2012

Paradise Returns In The Bronx

The No Longer Empty crew strikes again with their latest major project, This Side of Paradise opened on April 4, 2012—what’s behind the gates of the Andrew Freedman Home will clearly make the Bronx’s a hotbed of artistic endeavors and much needed cultural destination. The NLE curators transformed the interior space with the works of  select visual artists addresses site specific work that respond to such issues as memory, immigration, storytelling, aging and the creation of fantasy informed by the original concept of the Home “being poor in style” suggests. This Side of Paradise celebrates human ingenuity, the strength of the human spirit and the resilience needed to fashion beauty, hope and rejoicing. This show features over 35 artists of which include Linda Cummingham, Justen Ladda Sofia Maldonado, and Federico Uribe, you still have time to hang out at the Andrew Freedman Home work the show runs through 05 June, 2012. For more fun happenings in the Bronx check out No Longer Empty website.

This installation takes place at The Andrew Freeman Home once  a haven, paradise, for the rich elderly who had lost their fortunes. Bequeathed by millionaire Andrew Freedman, the Home provided not only food and shelter but all the accoutrements of a rich and civilized life style – white glove dinner service, a grand ball room, a wood-paneled library, billiard room and a social committee who organized concerts, opera performances and the like.

Referencing this quixotic history, This Side of Paradise references the past and reconnect the vision of Andrew Freedman to today’s Bronx and its realities. The exhibition and its extensive public programming onsite and offsite draws together the economic and social history of the Home with the present day realities of the Bronx and its residents.

 

 

28

03 2012

Everyday Design by Maleneb

The debut article of my first By Design column featured in International Review of African American Art, Fall 2011 issue spotlights the fabulous Malene Barnett, carpeting and rug designer.

The Art of Everyday Use
MALENE BARNETT CLIENTS ARE FLOORED BY HER RUGS
Not all carpeting rolls off assembly lines in factories or is imported from exotic places in the Middle East, China or India. Hand-made floor coverings that rise to the level of art are created by Malene Barnett, principal and owner of Maleneb in Brooklyn. She has built a brand specializing in hand-woven carpeting and rugs of original design and high-quality fibers for commercial sites and homes.

At the Fashion Institute of Technology in New York City, Barnett initially majored in fashion illustration but  really longed to paint. Her decision to change majors was clinched when she happened to see a display of  projects by students in the textile surface design department.  As a textile design major, she was inspired by the early textile renderings of Lois Mailou Jones, a young, African American designer who went on to become a major 20th century American artist.

While taking a carpet design course, Barnett won first prize for a Stark Carpets-sponsored, carpet design competition, and committed to this specialized field in textile design.

Barnett graduated in 1996 and worked for a succession of companies, including Afritext where she modernized their line of African prints; and Nourison, an industry leader, developing products for major household brands.

After four years at Nourison, Barnett had an urge to explore the world. She quit her job and, carrying just a backpack with seven outfits, traveled to India, Malaysia, the Philippines, Indonesia, Singapore and Hong Kong.  Each environment piqued her curiosity about the indigenous spiritual symbols, patterns and architecture of the cultures that she visited. She sketched this iconography in a small sketchbook as ideas for new designs.

Back in the States, Barnett worked freelanced for her previous employer, Nourison, designing handmade accent rugs and carpeting for some well-established consumer brands such as Bed, Bath and Beyond, Nicole Miller, Liz Claiborne and Macy’s. With her guidance, Nourison profits grew from $1 million to $15 million. Then Barnett was offered an opportunity to start a carpeting line with JLA Homes, a home furnisings company; once again profits increased.

When the economy started to tank in 2008, Barnett decided to launch Maleneb.  “Why would you even think of starting up a studio in such a dismal economy?” I wondered. “The timing was right,” she replied.  In leaving Nourison, she again was following a calling. She defines herself as a visual artist, with a propensity for hand drawing and painting, who loves to design carpeting and rugs. And besides, she explained, “most of my previous projects offered little exploration of my own ethnic sensibility.”

The luxurious residential rugs and carpeting in the Maleneb collection are hand woven designs based on the icons, patterns and colors that Barnett observed during her travels and as she continues to look to  artifacts from various ethnic cultures and the natural environment for inspiration, her work is informed by food rituals, ancient architectural structures, traditional garments, unusual  textile patterns and paintings are a part of the mix.

The collection consists of three distinctive themes: Signature reflects the diversity of everyday life, for example, the Mehndi-inspired rugs of rich burgundy and red wool yarn with linear designs based on a palm decorated with henna tattooing for a wedding. Classical— traditional motifs and icons such as the Adinkra writing system of Ghana. And texture which explores the multiplicity of organic forms in nature. In order to achieve the characteristics of flowing water, mountainous landscapes and tree trunk textures for the Texture theme, Barnett mastered a distinctive technique of creating varying pile heights.

As a member of the Good Weave organization working to end child labor in South Asia, all Maleneb pieces carry the “Good Weave” brand to distinguish them from those made under exploitative circumstances.

Besides designing the collection, Barnett gets numerous requests for commissioned projects. For example, Ken Staves, an architect based in Calgary, Canada, called to request rugs for his new home, based on photography he had shot of magnificent, New York City architectural skylines.  From this imagery, Barnett crafted a series of tapestries that now hang on the walls in Staves’ home. The Carl Ross Design Croup hired Barnett to create special rug tapestries for the lobby walls of the Hyatt Vacation Club Hacienda del Mar in Mexico. Her design for this commission was inspired by the 15th century rock art of the Taino Indians of Mexico.

A spunky seven-year-old girl passion for drawing and painting has become one of the top designers of carpeting and rugs in New York City.

Limited Edition Tap Tap rug, abstract angular colorful shapes, with varying piles based on the colorful, hand-painted local tap tap buses in Haiti, this rug design was featured in the Global African Project exhibition catalog, 2010.

For more information on Maleneb click: maleneb.com 

 

 

Black Studies in Art & Design Education Conference

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.

photo credit: http://www.blackstudies.ucsb.edu

What’s FOODAM

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.

JAMES BALDWIN’S GLOBAL IMAGINATION

James Baldwin Global Imagination:

February 17 to 20, Thursday to Sunday
Contact baldwinconference@gmail.com for information

Check out their website for Conference schedule, location and other details: http://www.csgsnyu.org

Staged in the context of global economic insecurity, a planet gripped by the ravages of war and climate change, ever-increasing gaps in wealth, as well as rampant fundamentalism (East and West), “James Baldwin’s Global Imagination” is intended as an examination of globality not simply as a matter of demography but as an urgent call to re-consider the contemporary utility of Baldwin’s expansive injunction to William Faulkner (and, in fact, to us all), “[t]hat any real change implies the breakup of the world as one has always known it, the loss of all that gave one an identity, the end of safety.” These proceedings are thus proposed as an opportunity to take seriously Baldwin’s consistent and insistent proposal that categories of difference represent an early misnaming, a dangerous and cowardly misrecognition of the moral imagination required to confront not only our mortality but also the brutal legacies of our collective histories.

Confirmed plenary speakers, respondents, and musicians:
M. Jacqui Alexander, University of Toronto
Awam Amkpa, New York University
Eshter Armah, journalist, playwright
Rich Blint, New York University
Marcellus Blount, Columbia University
Nicholas Boggs, Columbia University
Herb Boyd, Baldwin Biographer
Jennifer Brody, Duke University


18

01 2011

GLIDE10: Ron Eglash Bridges The Gap Between Vernacular and Indigenous Cultures


Ron Eglash computations

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.

Take a look at Ron presentation at TED.COM

GLIDE10: Fabiola Berdiel + Cynthia Lawson Development through Empowerment, Entrepreneurship, and Design.

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?

For more information click on: deed.parsons.edu

GLIDE10: Susana Barreto/Towards a Global Design Taxonomy

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?

listens to Susan Barreto’s lecture



FIT Exhibition Design Project: Food Opera

In my classroom I challenge my students to think beyond there own cultural beliefs and to expand the dialog of what globalization and culture means as applied to their ideation and design thinking. Here are a few examples of mindmapping/billboarding techniques used to jump start there projects. Below are several examples of students finished projects, billboarding presentations and team interactions.

Isabeal Maryland Crab presentation

Roni, Sarah and Sparky deep in thought

Dominka Polish Food expo, she incorporated poetic verses.