#victoriaalbertmuseum — Public Fediverse posts

London's Victoria & Albert Museum to launch voluntary exit scheme https://www.theartnewspaper.com/2026/10/06/londons-victoria-albert-museum-to-launch-voluntary-exit-scheme?utm_source=dlvr.it&utm_medium=mastodon #VictoriaAlbertMuseum #Redundancies

The Victoria and Albert…

I can’t remember when I was last in the Victoria and Albert Museum but it’s long enough ago for me to have forgotten how big it is. It being free to get in and very near to why I am we are staying it was an easy decision to head there this morning before going to the Pride festivities. In fact it was so enjoyable and so extensive we were a bit late leaving. It’s definitely well worth a visit if you’re in London.

I remember the Raphael Cartoons from when I was last at the V&A. They’re very well done – an example is on the right below – but I didn’t find them very funny. In fact I couldn’t see the joke in any of them!

Just so you don’t think I’m a complete ignoramus, the “cartoons” are complete designs for tapestries – they would be placed underneath the loom as a template for the weavers to follow. Incidentally, the Bayeux “Tapestry” – currently on display in the British Museum – is not a tapestry at all.Being stitched rather than woven, it’s an embroidery not a tapestry. The Raphael cartoons were made for tapestries that hang on the walls in the Sistine Chapel in the Vatican, intended to complement Michelangelo’s famous ceiling. I still don’t know who did the floor.

I’m not very good at taking pictures in galleries, especially when I’ve got company as I had today, but in the light of yesterday’s post I couldn’t resist this:

It’s a plaster study by Alfred Stevens for a sculpture that would form part of the memorial to the Duke of Wellington in St Paul’s Cathedral. It’s called Truth and Falsehood (there is another called Valour and Cowardice).

In this work Truth tears out the double tongue of Falsehood and pushes aside the mask concealing his grotesque features. His serpent-tails are exposed beneath the drapery. 

Another thing I was reminded of by today’s visit is the prominent role played in the early days of the Victoria & Albert Museum in South Kensington by the artist Frederic Leighton, who featured in a recent post.

Some historical documents from 2009 for #TextureTuesday... A high-res render and some detail crops of the award-winning generative typography & branding system/application I designed & developed for the DECODE exhibition at Victoria & Albert Museum London (one of the largest group shows the V&A had organized and curated in a few decades, and which later traveled to other museums worldwide)...

The entire identity system & application was/is open source (a world's first back then) and was created with my toxiclibs toolkit (3D geometry, meshing, voxel-based volumetric modeling, animation) and Processing (GUI). Rendering using Christopher Kulla's Sunflow.

More project information:
https://web.archive.org/web/20100303093556/http://code.google.com/p/decode/

User guide (also explaining the structure of the 3D object):
https://web.archive.org/web/20100213014335/http://code.google.com/p/decode/wiki/UserGuide

Mirror of the old repo:
https://github.com/postspectacular/vam-decode/

Flickr set (120+ images):
https://www.flickr.com/photos/toxi/albums/72157622483026212/

#AbstractArt #GenerativeArt #Typography #Branding #Texture #VictoriaAlbertMuseum #OpenSource #Polygons #Color #Voxel

@DBG3D @t36s Okay, I found another nice excerpt, a bit more minimal than the above, but maybe also more clear to hear the approach described earlier. Just to explain once more, all the samples used are only one-shot single notes (produced by Simon Pyke/Freefarm). All melodies, chords, chord progressions, rhythm and the overall arrangement are fully generated (mostly but not exclusively) via cellular automata. The composition system also had other means to create/control, e.g. probabilistically trigger the recording of notes/events of selected tracks/channels for a few bars and then replay these phrases later, maybe using a different time scale, transpose, mirror and/or with different instruments... This proved to be highly effective (and musical) in terms of longer progressions and to create more interesting multilayered compositions/progressions. Some phrases were kept in a memory pool for up to 12 hours (the piece ran for 3 months)...

As you can hopefully tell, the visuals for that installation were audio-responsive (not really audio per se, but responding to the events of the composer). Likewise, if the visuals would become too agitated/intense, an event would be sent to the composer to quickly dial down/thin out the musical intensity (e.g. trigger tempo change, mute tracks, lower velocity etc.). This hybrid, coupled two-way feedback worked very well in practice and there were so many moments I wish I would have recordings of...

#GenerativeArt #GenerativeMusic #MusicComposition #CellularAutomata #AudioReactive #Installation #VictoriaAlbertMuseum #Video

London museum guards threaten further strike action https://www.theartnewspaper.com/2024/12/31/london-museum-guards-threaten-further-strike-action?utm_source=dlvr.it&utm_medium=mastodon #Museums #VictoriaAlbertMuseum

Two old goats

#nsfw #nwfw.lgbt #calhowdy #gay #mature #Victoria&AlbertMuseum #London #me

#SanjivMehta #entrepreneur #Mumbai
How an #IIMA man relaunched the #EastIndiaCompany #EIC
Acquired in 2005
Now a #luxurybrand
#teas #goldcoins #books
Collaborations with prestigious entities like #RoyalMint and #VictoriaAlbertMuseum.
https://economictimes.indiatimes.com/news/india/how-an-iim-a-man-relaunched-the-east-india-company/articleshow/112523689.cms?utm_source=contentofinterest&utm_medium=text&utm_campaign=cppst

Art encompasses a multitude of facets that intertwine to create profound expressions of creativity. From the intricate strokes of a painting to the graceful movements in a dance performance, art represents a beautiful fusion of diverse forms. This fusion serves as a testament to the boundless creativity and innovation that enlivens the world of art.

Ballets Russes: A Fusion of Art, Dance, and Fashion

The Ballets Russes stands as a testament to the vibrant interchange of creative endeavors, seamlessly blending art, dance, and fashion into a mesmerizing spectacle. Founded by Sergei Diaghilev in 1909, this itinerant ballet company based in Paris engaged audiences worldwide with its innovative choreography, music, and stage design.

Collaborating with prominent artists of the time, including composer Igor Stravinsky, choreographer Michel Fokine, and designer Léon Bakst, the Ballets Russes redefined the art of ballet. From the stunning allure of vibrant costumes to the exploration of exotic themes, the company’s performances heralded a new era in dance.

Notable productions such as “The Firebird,” “Petrushka,” and “The Rite of Spring” ignited sensations with their avant-garde concepts, unconventional choreography, and groundbreaking musical scores.

The involvement of Matisse and Picasso in the Ballets Russes was significant, as both artists collaborated with the company, contributing to its innovative and influential productions.

Henri Matisse designed the costumes and sets for several of their performances. His distinctive artistic style and use of vibrant colours brought a unique visual dimension to the ballets, enhancing the overall aesthetic experience for the audience.

Similarly, Pablo Picasso collaborated with the company on the creation of striking set designs and costumes, infusing the productions with his avant-garde artistic vision and further pushing the boundaries of traditional ballet aesthetics.

Despite its relatively brief existence from 1909 to 1929, the Ballets Russes continues to inspire contemporary artists and captivate audiences with its enduring legacy of creativity and innovation.

La Tragédie de Salomé

Tamara Karsavina was a highly acclaimed Russian ballerina, renowned for her exceptional artistry and technical prowess. Born in 1885, she was a principal dancer of the Imperial Russian Ballet and later became a leading dancer with the Ballets Russes. Karsavina’s extraordinary talent and expressive performances contributed significantly to the Ballets Russes’ innovative and influential productions, leaving a lasting impact on the world of dance.

The ballet “La Tragédie de Salomé,” staged in 1913, is a mesmerizing example of the Ballets Russes’ commitment to pushing artistic boundaries. The production featured a brilliant costume designed by Serge Sudeikin for the prima ballerina Tamara Karsavina, which captured the essence of the narrative and thematic richness of the performance.

Sudeikin’s extraordinary design seamlessly blended opulence, drama, and exoticism, reflecting the depth of the production. The costume’s intricate details and striking visual impact enhanced Karsavina’s portrayal of the iconic character.

This collaboration between Sudeikin and Karsavina added to the company’s legacy as a pioneer in the world of performing arts.

Find out more about the Ballets Russes.

Explore more costumes from the V&A’s collections

https://chasingart.com/2024/05/24/ballets-russes-a-fusion-of-art-dance-and-fashion/

#BalletsRusses #LaTragédieDeSalomé #PerformingArts #SergeSudeikin #SergeiDiaghilev #TamaraKarsavina #VictoriaAlbertMuseum