Sunday, 23 March 2014

Things to do when you're forced to go shopping.

   So there you are, fainting with boredom. You look around for something, anything, to break the monotony. And then you see it...

...bad typography!

   There's plenty of interesting typography to look at in the perfume section of Boots, but it can't all be good. The problem here is a matter of scale. The logo looks fine on the bottles below, but blow it up to this size and the gap between the N and the I yawns like the gates of hell.

   And in reverse...

   This doesn't look too bad, though I'm not sure about the short T. But when you reduce it...

 
  The T screams "Help me! Help me!"
  People in Boots thought I was nuts taking these pics.
   


Thursday, 13 March 2014

PDP - Keywords at the Tate


The Keywords exhibition at Tate Liverpool tied in nicely with what we’re currently doing in context, so Gary had us all bussed down to see it. And they’re charging a pretty penny to see it too, £8 for civilians, though we got in for £5.
And…it wasn’t worth it.

Raymond Williams’ book Keywords  is a collection of essays on the changing meaning and usage of 130 words. The Tate has taken this concept and twisted it to frame a collection of artwork and images from the 1980’s. Words scrawled large on the wall –


Photograph: Christopher Furlong/Getty Images

- were represented by pictures on the facing wall. You would assume these artworks would be logically placed opposite their keyword; but no, the artwork is crammed shoulder to shoulder along, while the keywords sprawl in a leisurely manner. The result is the near impossibility of equating the one with the other.

Maybe just as well, because the artworks don’t really fit the categories. There was a painting of an oak tree. Where was that supposed to go? I’d have had to put it under folk. But no, folk means, apparently, the troubles in Northern Ireland. Whereas to most people folk means nasal singing and morris dancing.

Another room held more stuff scattered across large black carpets, which we weren’t allowed to stand on. Again, keywords were scrawled on the walls, but I had no idea what they pertained to.

The Tate management had decided to use the Keyword concept as an excuse to haul out a bunch of artworks they already owned and charge us loads of money to see them

Yet if we hadn’t been working on this topic, been familiar with the book and its concept, I might have been fooled into thinking the exhibition made sense, and that I was too uneducated to get it. As it was, I just saw it as nonsense.

Sunday, 2 February 2014

Wednesday, 29 January 2014

Stockport College's Funding Cuts

After further cuts to the equipment budget, Adam Pilkington is forced to produce his ZinesofWonder exhibit the hard way.


Sunday, 26 January 2014

Leeds Again

Leeds continues to delight me. The city centre is so much more impressive than Manchester.


This is the Trinity shopping centre. It makes the Arndale look like a public toilet. The roof lets the light and air in while keeping the rain out, so it has more of an outdoor feel.


And there's this brilliant mesh sculpture of a pack horse, perched on a pillar thirty feet in the air.


They also had a Street Art exhibition. Best thing you can do with a Vauxhall Astra.


Tuesday, 21 January 2014

Jeremy Deller - All That Is Solid Melts Into Air




  
 Deller’s show demonstrates the rise and fall of Britain’s manufacturing industries. We are shown images of early ironworks – he focuses on the iron and steel industry, with few mentions of the textile mills – and film footage of a ‘modern’ (1945) steelworks. A juke box plays a selection of industrial noises, interspersed with traditional songs like ‘The miner’s lock – out’. Then the images show post – industrial Manchester, the silent  mills and desolate docks. The emphasis is on the changes to the career paths of the working people, from agricultural and domestic workers, to factory hands, to entertainers.

   Adrian Street ran away from the mines, the derisive laughter of the miners ringing in his ears, to become a professional wrestler. Like Noddy Holder and Bryan Ferry, he used the entertainment industry to escape a life of toil. But, until the eighties, the life of toil was seen as normal, inevitable. Not now. With the industry all but gone, now their careers look more like the norm than the jobs of their fathers.

The Judas Priest album is significant. Heavy metal was born in the Black Country, invented, most say, by Black Sabbath. Toni Iommi, Sabbath’s guitarist, lost the tips of two fingers while working in a sheet metal factory, while the drummer, Bill Ward, lay at night beating out imaginary drum solos to the rhythm of the drop forges as they thumped away, all night long. The forges are long gone, but the music endures.
Good album too. I bought it when it came out in 1979.



  Deller points out that the clock was the workers’ enemy. Employers would alter them to steal time from the workers, and brutally fine them for any deviance from the factory hours. And two pieces showed how this control has developed. The first was an ancient clocking – on machine, and the second was the Motorola Slave Bracelet.




   Clocking – on only monitored your arrival and departure time. You could be skiving in between, or someone else could clock you in or out. I've used one, and with a bit of collusion they're easy to circumvent.
The slave bracelet - this example is used in Amazon's absurdly - named 'fulfilment centre' -  is much more controlling. It logs every movement, every trip to the toilet. The bosses monitor your every move, even, I believe, issuing orders and threats via the machine. Your time really does belong to your employer.


Tuesday, 7 January 2014

A City ain't a City without a Big Wheel

Once upon a time, the defining feature of a city was the cathedral. Now, it would appear, it's the big wheel. If you ain't got one, you're nobody.

Manchester had one. Then it hadn't. Now it has again. In Piccadilly Gardens this time.

It's quite pricey - £7.00 (£6.00 for students). And it isn't for claustrophobics. Or, surprise surprise, those scared of heights.