Knotted Mass II

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Holly Slingsby, ‘Knotted Mass II’, 2016–18. Courtesy the artist.

‘Knotted Mass II’ is an artist’s book developed from Holly Slingsby’s 2016 performance of the same name at The Bower’s pop-up project, Finishing Touch, London. This work evolved from her research into the language of hair in the narratives of pop-cultural and mythical figures. It took place by candlelight, drawing from a rich selection of images, where hair is both subject and object, exploring its significance in popular culture, history, mythology and religion. ‘Knotted Mass II’ includes texts and images from the performance, new drawings, photographic documentation, and a specially commissioned text by Beth Bramich.

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Albertopolis Companion

Albertopolis Companion, July 2015.

Albertopolis Companion, written by students of the Critical Writing in Art & Design MA programme at the Royal College of Art, is an alternative guide to London’s South Kensington. The term ‘Albertopolis’ was coined in the 1850s as a facetious nickname for London’s new quarter of art, design and innovation. Today, Albertopolis remains a network of venerable museums and institutions sprawling south of Hyde Park, under the watchful gaze of its instigator, Prince Albert.

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Of and For Turner Contemporary

Of and For Turner Contemporary: Writings on a Building. Illustration by Billie Muraben.

‘Of and For Turner Contemporary: Writings on a Building’ is a collection of texts written by Critical Writing in Art and Design students at the Royal College of Art. The essays bring together new approaches to writing in relation to architecture, drawing particularly on the experience of spending time with a working building. With a foreword from Sir David Chipperfield and newly commissioned illustrations by Billie Muraben, this website captures aspects and impressions of Turner Contemporary almost four years after its opening.

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Arc #18: Accent

Arc #18: Accent.

This issue of Arc, the Royal College of Art’s student-led magazine, carries an accent.

It is about personal voice and how things are spoken both on and off the page. It depends on where you are – have been – and who you spend time with; it is about dialect and how some things rub off or pass down or stop mid-Atlantic. And it is about stress, emphasis – the marks above letters or on musical notes, the effect of one colour next to another. The accents in this issue register between saying what you think and thinking about what is said – they are sounds, affectations, marks, tics, tones.

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