How will the 50K be Used? | |
Budget Notes: Cost of traveling to public relations meetings and events Cost of memebership fees for community organizations Transportation cost for volunteers to facilities | |
$ 5,000 | Website design and hosting |
$ 1,500 | Yarn, knitting needles and other craft supplies |
$ 6,000 | Annual stipend for knitting teachers |
$ 5,000 | Annual stipend for web master |
$ 31,500 | Annual salary for Project Director |
$ 1,000 | Collateral supples, fliers, cards, ads, fundraising |
Friday, April 30, 2010
Monday, April 26, 2010
Kaffe Fassett
The Culture of Knitting by Joanne Turney
The Culture of Knitting investigates not merely why knitting is so popular now but also the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, the book offers new ways of seeing and new methods of critiquing knitting - without the constraints of disciplinary boundaries - in the hope of creating an environment in which knitting can be valued, recognized and discussed.
About the author
Joanne Turney is Senior Lecturer in the History and Theory of Design at Bath School of Art and Design.
Contents
Introduction
Chapter One: Knitting: a gendered pursuit?
Chapter Two: Knitting the Past:: Revivalism, Romanticism and Ruralism in Contemporary Knitting
Chapter Three: Twisted Yarns: Post-modern Knitting
Chapter Four: Unravelling the Surface - Unhomely Knitting
Chapter Five: In the Loop? Knitting Narratives, Biographies and Identities
Chapter Six: Knit Power - The Politics of Knitting
Conclusion: The World is Full of Ugly Jumpers
How knitting crops up when least expected...
Saturday, April 24, 2010
Mark Newport
Flashy capes and skintight garments are the usual accouterments of comic book superheroes. But artist Mark Newport has some fun with these larger-than-life characters with his soft, hand-knit costumes, which are on view through January 3 at the Renwick Gallery's "Staged Stories: Renwick Craft Invitational 2009." He spoke with the magazine's Jordan Steffen....
Who taught you how to knit?
I learned to knit twice. The first time was when I was a kid and my grandmother, who was a first grade school teacher, taught me. I think I was ten or something. I probably forgot because there were no knitting needles or yarn at home. In 2000, I wanted to include knitting in some undergraduate classes I was teaching. My wife is a knitter. She gave me a couple books and said, "Here get to it." The first thing that I had to do was learn how to make a couple of different things. I could knit and create cables and stuff, but I hadn't made any functional garments. So I made a pair of socks and a pair of gloves. Once I learned to knit in the round, it all made sense....
Marion Crane: Sometimes, we deliberately step into those traps.
Tuesday, April 20, 2010
Sale 14244 - The Private World of Truman Capote New York, 13:00 9 Nov 2006
Please note that Truman Capote's personal wardrobe lots are in various states of condition. As with all lots offered at auction, we recommend that potential auction participants request detailed condition reports before bidding.
The Truman Capote Literary Trust is neither a participant nor sponsor of this sale.
1001 Capote, Truman. Various titles. 3 volumes: A Christmas Memory. New York: 1966. Original cloth, slipcase. 1st edition, in original plastic wrapper. * The Thanksgiving Visitor. New York: 1967. Original cloth, slipcase. 1st edition, in original plastic wrapper. * One Christmas. New York: 1983. Original cloth, in slipcase. 1st edition. With Truman Capote library stamp to upper cover of slipcase. Sold for $1,076 inclusive of Buyer's Premium | 1002 Capote, Truman. Various titles. 3 volumes: In Cold Blood. New York: 1966. Original cloth, no jacket. 1st edition, with Truman Capote library stamp. * Music for Chameleons. New York: 1980. Original cloth, slipcase. Limited author's edition, with Capote library stamp. Damage to slipcase. * The Muses are Heard. New York: 1956. Original cloth, DJ. 2nd printing. Condition varies. Sold for $359 inclusive of Buyer's Premium |
1003 Capote, Truman. The Dogs Bark. New York: 1973. Original cloth, no DJ. 1st edition, with Truman Capote library stamp. * Another copy. New York: 1977. Paperback edition, lacking library stamp. Sold for $179 inclusive of Buyer's Premium | 1004 Capote, Truman. Music for Chameleons. New York: 1980. Original cloth, DJ. 1st edition* 2 additional copies, in DJs, later editions. Condition varies. $300 to 500 |
1005 Capote, Truman. Various titles. 5 volumes: In Cold Blood. New York: 1965. Original cloth, DJ. 1st edition, with Capote library stamp. * Music for Chameleons. New York: 1980. Original cloth, DJ. 3rd printing. *One Christmas. New York: 1983. Original cloth, slipcase. 1st edition, lacking Capote library stamp. * The Muses are Heard. New York: 1956. Original cloth, DJ. 2nd printing, with Capote library stamp. * Trilogy. New York: 1969. Original cloth, DJ. 1st edition, with Capote library stamp. Sold for $657 inclusive of Buyer's Premium | 1006 Capote, Truman. The Grass Harp. New York: 1951. Original cloth. 1st edition, with Truman Capote library stamp. * The Grass Harp (Play Version). New York: 1952. Original cloth, DJ. 1st edition, with Truman Capote library stamp. Shelfwear, jacket chipped with 1 1/2 inch closed tear. Sold for $418 inclusive of Buyer's Premium |
Suzanne Lacy- The Crystal Quilt
Tuesday, April 13, 2010
Jo Hanson. Street Sweeping.
Hanson came to prominence early in the 1970s soon after she moved into a deteriorated but stately Victorian on Buchanan Street. Once she had resuscitated the house into a landmark, she tackled its windy litter-strewn sidewalk. Her personal act of sweeping one sidewalk grew into a celebrated public art practice and citywide anti-litter campaign. Her compiled volumes of urban detritus are recognized as an artistic political tour de force that raised community awareness as it chronicled rapidly changing demographics.
Jenny Holzer - Truisms
minimalist aesthetics that make profound statements about
the world of advertising and consumer society today.
by presenting an assemblage of phrases that mimic advertising
slogans through vehicles commonly used in advertising,
such as electric billboards, coffee mugs, and commercials
on cable and network television, holzer questions what
our eyes can see and what we can't see in media,
whether consumers today have any real control over the
information that is provided to them.
Stan Douglas - Television Spots.
Stan Douglas
«Television Spots»
Produced between 1987 and 1988, the «Television Spots» are exactly what they claim to be: these twelve, short video sequences were originally planned as inserts within the regular advertisements on Canada’s private television network. Unannounced and without introductions of any kind, on a nightly basis one of the fifteen to thirty-second-long spots was aired as part of the scheduled blocks of broadcasting. The sequences tell short stories or show excerpts of occurrences: so «Answering Machine,» for example, begins with the shot of a woman arriving at the door of her apartment. The moment she finds her keys, the telephone rings. One sees her enter the apartment, put down her handbag, and finally sit down to smoke a cigarette. On the table beside her, the telephone continues to ring. The spot concludes with the caller’s voice leaving a message on the answering machine. Regarding the camerawork and sense of dramaturgy in the editing, the spots correspond—if greatly shortened—with conventional film and television practices. Yet their content, the dramaturgy of the action, and what’s depicted, run contrary to the usual expectations of viewers; they undermine the usual construction of their needs; in doing so, the [representation of the] public’s identity is shown in the end as a greatness defined purely though the medium. The «Television Spots» appear as ‹narrative› fragments spontaneously readable and formally easy to identify but their imagery shows ‹empty places›: interchangeable performance locations, urban areas lacking any dramatic or narrative value—as everyday and banal as the ‹action› or the ‹events,› images normally left out between edited shots. They show waiting, a lack of orientation and misunderstandings, or the impossibility to agree at all. Alongside all this, and while using an editing rhythm considerably slower than that of the advertising world’s sense of dramaturgy (but always within the framework of the economic time-frame of conventional cinematic images), these shootings take on the quality of reality captured as found footage, as fragmentary found objects, or, in the transporting of medial constructions in their dysfunctionality, as an alternative way of representing reality—one that refers to meaning-laden structures outside of the medium.
(Source: «Seeing Time,» exhibition of the Kramlich collection at the Center for Art and Media, Karlsruhe, http://on1.zkm.de/kramlich/douglas)
Douglas’s Monodramas, ten 30- to 60-second videos conceived as interventions into commercial television, interrupted the usual flow of advertising and entertainment when broadcast nightly in British Columbia for three weeks in 1992. These micronarratives mimic television’s editing techniques, but as kernels of a story they refuse to cohere. They are tales of dysfunction and dislocation, misanthropy and misunderstanding: a car and a school bus nearly collide at an intersection, only to drive away; a pedestrian greets an Afro-Canadian man he encounters on the street but is told in response, “I’m not Gary.” When the videos were aired unannounced during commercial breaks, viewers called the station to inquire about what was being sold, their responses evincing how the media can refocus attention from content to consumption.
Tuesday, April 6, 2010
Peter Greenaway - Dear Phone
People did this in 2007... (in Glasgow, Scotland)
BALIOL LANE
Jonny Filter presents PALE BLUE GREEN.
A filmic and painterly exploration of visions, sounds and space.
Live performance on Halloween with shambolic noise masters Dumbracket
22 WILLOWBANK CRESCENT
Deer's Head Gallery: illustrations by Rebecca Davies in hallway entrance from her current project, Men With Interesting Faces and a video projection in the stairwell by Jamie Kenyon
63 LAUDERDALE GARDENS
Last Evening: a body found in the close of the tenement.
A sculptural installation by Little Whitehead.
http://www.closeprojects.co.uk
Saturday, April 3, 2010
Dame Elisabeth Frink
I had never looked into the extensive work of Elisabeth Frink until now, only knowing that she was the artist commisioned to make the 'Flying Figures(Untitled)' (1964) on the Ulster Bank building in Shaftsbury Square in Belfast. I was thinking of researching this sculpture for a presentation and in doing so came across some very exciting drawings and bronze sculptures.