the work of art in the age of mechanical reproduction

watercolour of plate I’ll be at the British Ceramic Biennial on the 9th and 10th November 2013, working at the original Spode factory, alongside other artist, poets, and makers. As I wrote earlier (here), images of pots are now more economic and desirable to make than an actual pot: with the future of Stoke being in its museums and pattern books not its industry. watercolour of  blue plateSometimes I think that’s the case for potters like me, too: I spent Thursday coding html for my website, and the images will surely spread further than my pots ever will. Maybe I should print them on cards or tea-towels… There is something very charming about the pattern books, though, and during the weekender I’ll be exploring that appeal, as well as trying to make something as charming online.

patterns and pots
pot and pattern
Watercolour PlateWith music, the economics of the internet now means it’s events that make musicians money. The Biennial is certainly exploring this move to making as performance, working with contemporary artists and poets to make events in Stoke.

Here are some blogs describing events in the pipeline for the Stoke BCB:

Holly Corfield Carr visits Stoke
Kim Norton maker in residence
BCB Learning blog
Topographies of the Obsolete

BTW, the blog title is from Walter Benjamin’s seminal essay.

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