Bibliography for essay

BBC News (2003) ‘Liquidising Goldfish “Not a Crime”’ [Online] Available at: http://news.bbc.co.uk/1/hi/3040891.stm (Accessed 27 January 2013)

Bourdieu, P. (1977) Outline of a Theory of Practice, Cambridge, England: Press Syndicate of the University of Cambridge

Bourdieu, P. (1984) Distinction - A Social Critique of the Judgement of Taste, London: Routledge

Bourdieu, P. (1990) The Logic of Practice, Cambridge, England: Polity Press

Bourdieu, P. and Darbel, A. (1991) The Love of Art, Cambridge, England: Polity Press

ChristineM: The Sociology Hub (2008) Erving Goffman, [Online] Available at: http://sociology.wetpaint.com/page/Erving+Goffman (Accessed 27 January 2013)

Cummings, D. (2002) Art: What is it good for?, London: Hodder & Stoughton

Evaristti,M. Art work and projects [Online] Available at: http://www.evaristti.com/marco/helena.html (Accessed 27 January 2013)

Fyfe, G. (2000) ‘Reproductions, Cultural Capital and Museums: Aspects of the Culture of Copies’ [Online] Available at: http://www2.le.ac.uk/departments/museumstudies/museumsociety/documents/volumes/fyfe.pdf (Accessed 27 January 2013)

Ho, Angela (2012) ‘Artist Study: Tracey Emin and Development on my Practice’ [Online] Available at: http://ywangelaho.blogspot.co.uk/2012/08/artist-study.html (Accessed 27 January 2013)

Miles, R. (2011) ‘High Culture/ Low Culture’ (Lecture Notes) (Lecture 14 December 2011)

O’Doherty, B. (1986) Inside the White Cube - The Ideology of the Gallery Space, California: University of California Press

Routledge: Social Theory Re-wired (2011) Profile of Pierre Bourdieu, [Online] Available at: http://theory.routledgesoc.com/profile/pierre-bourdieu (Accessed 27 January 2013)

Saatchi Gallery (2013) ‘Tracey Emin - Contemporary Artists’ [Online] Available at: http://www.saatchi-gallery.co.uk/artists/artpages/tracey_emin_my_bed.htm (Accessed 27 January 2013)

Stuckismwales, ‘Significant Form Theory of Art: Clive Bell’ [Online] Available at: http://stuckismwales.co.uk/theory/tblast/significant.php (Accessed 27 January 2013)

The Guardian (1999) ‘Satirists jump into Tracey's bed’ [Online] Available at: http://www.guardian.co.uk/uk/1999/oct/25/fiachragibbons1 (Accesssed 27 January 2013)

Images:

Helena by Marco Evaristti, 2000, Art and Electronic Media, http://artelectronicmedia.com/artwork/helena-by-marco-evaristti (Accessed 27 January 2013)

Two Naked Men Jump Into Tracey’s Bed, 2012, Artist Study: Tracey Emin and Development on My Practice, http://ywangelaho.blogspot.co.uk/2012/08/artist-study.html (Accessed 27 January 2013)

- friendliness and sociality of the village should come along with this idea and make us more aware of ourselves and others

- a form of imperialism of the corporations

 - colonising western capitalist force slowly eating up, through economic and ideological means and through war, and spreading over everyone else
- global resistance to this spread - anti capitalist protestors
- this system is attempting to assimilate people, rather than to bring them together
- corporations are multinational, so unaccountable to any form of politics
- no control of system

- imperialism - another form of creating an empire

- changing the way people think by forcing politics and culture on other people
- product of globalisation

Oligopolies
- giant multinational corporations, who own smaller corporations, and so on

 - biggest growth industry in India last year was skin whitening treatment - bombarded with images of beauty - western images of being white

- analysing media bias

- news is basically an elaborate system designed to indoctrinate us into a new system

Another look at the use of space and layout in exhibitions 
- with a focus on typographic exhibitions

History of Typography Exhibit

This exhibition space cleverly uses the white space with the contrasting dark works on display draws attention to the work in a very sleek way without it being uninteresting. This style however wouldn't work for my proposal as I am looking at how type is being used within different environments. 

'Standard Deviations' Typography Exhibition MoMa | Midtown NYC | photo - Marika Järv

This style of design and use of space is also not completely the way I want to structure my exhibition. The layout of artworks and so on is effective for the purpose here, but is a little too 'clinical' for the way my exhibition would work. 

Exhibition designs, layouts and use of space

Comparing existing exhibition designs and layouts for contextual research into how my exhibition would look and function

Exhibition spaces like this one add an interesting touch to the layout of an exhibition space. It allows for the viewer to follow the exhibit around the room, while also incorporating them into part of the exhibition through the use of the type on the walls and ceilings. 

Selldorf Architects :: Gagosian Gallery Exhibition Design

This is a very traditional exhibition layout where there is lots of white space on the walls surrounding the work being displayed, which puts emphasis on the work rather than the space, but also allowing the viewer to feel a part of the exhibition due to the amount of open space. 

In support of Beijing Design Week, Converse presented “Off Canvas” a street-level exhibition of typography design that canvassed the capital city in obscure places that mark China’s thriving creative subcultures.

This exhibition is more of the style I was considering for my exhibition proposal, where the space and environments in which the artwork is placed influences the exhibition. I was also looking at incorporating work such as this into the actual exhibition, as in photographs of work like this would be included. 

Life sized typographical installation using thousands of pieces of paper folded and glued together to form the sentence that describes and illustrates the concept. The topographic shape transitions from the still nature of paper to the mountaneous organic structure, while keeping its geometric character.
The idea started on paper, with sketches and concepts that were translated to the final design on the computer, to the final 3d shape, back to paper. Building the gigantic sculpture was pretty intense and we wouldn’t have been able to do it without the help of all the friends who kindly lent a hand, for which we are very grateful.
Exhibited in the FOFA Gallery hallway-vitrine for the Concordia University Design Department End of Year exhibition, during the Montréal Design Portes Ouvertes 2010. Published in Communication Arts Typography Annual 2011.

This style of exhibit is much more the style I was looking at, where the viewer is literally encapsulated by the artwork on show. It draws on not only the surroundings, but also the way the viewer, the work and the space interact together. 

Barbara Kruger L&M Arts Typography Exhibition

This typographic exhibit is exactly the sort of over the top presentation of type that I was considering and picturing for my exhibition. The viewer literally becomes a part of the exhibition and the space is thoroughly used without making it feel like a big black hole. 

Looking into how an exhibition is design and proposed

Since the crit yesterday, I have decided to give my work for this brief more of a purpose by proposing an exhibition that the work I have done so far is supporting work and advertising for the exhibition, so looking into how an exhibition functions and is designed.

Looking at exhibitions and exhibition design:

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

Exhibit design (or exhibition design) is the process of developing an exhibit—from a concept through to a physical, three-dimensional exhibition. It is a continually evolving field, drawing on innovative, creative and practical solutions to the challenge of developing communicative environments that ‘tell a story’ in a three-dimensional space.

- the point about an exhibition telling a story is an interesting one - the exhibition I am proposing isn't so much to tell a story, but rather to introduce a concept which is well known to most people in the world, yet goes fairly unrecognised. I'm looking at how type and typography works build up an environment, become the focus point of an environment or where the environment creates the typography. 

Exhibit design is a collaborative process, integrating the disciplines of architecture, landscape architecture, graphic design, audiovisual engineering, digital media,lighting, interior design and content development to develop an audience experience that interprets information, involves and engages a user and influences their understanding of a subject. Throughout the planning and design process, exhibit designers work closely with graphic designers, content specialists, architects, fabricators, technical specialists, audiovisual experts, and, in the case of museums and other mission-based institutions, stakeholders like community members, government agencies and other partner organizations.

-  this bit raises the point that exhibition design is an extreme collaborative process. It envolves pitching the idea to the gallery space team, and after getting the go ahead, it requires the work of different groups of people to actually put the exhibition together. For my exhibition proposal I'm planning on simply creating a fictional exhibition and putting together rough designs of how it would work by myself. 

The exhibit design process builds on a conceptual or interpretive plan for an exhibit, determining the most effective, engaging and appropriate methods of communicating a message or telling a story. The process will often mirror the architectural process or schedule, moving from conceptual plan, through schematic design, design development, contract document, fabrication and installation. The first phases establish a thematic direction and develop creative and appropriate design solutions to achieve the interpretive and communication goals of the exhibit. The latter phases employ technical expertise in translating the visual language of the designs into detailed documents that provide all the specifications required to fabricate and install an exhibit.

- as stated here, my exhibition will also heavily revolve around the space in which it is proposed. The idea of showcasing typography in different environments is reinforced by actually placing type on the walls and in different parts of the gallery space, as well as including photographs of different pieces of architectural typography.