Tag Archives: Saltaire now

rediscovering Ripley Ville : the Beginning after the End

A previous post announced ‘the Beginning of the End’ for the rediscovering Ripleyville blog; the slow retirement of the blog while I carry on with research and writing. This post set out what comes after – A New Beginning!

Or is it?

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Ripples build and other News

This is a very short post giving news of;

  • an upcoming Textile conference,
  • two posts that have had their passwords removed
  • and the connection between pain, pus, poison and aniline dyes

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Protected: Saltaire Festival, the other side of the Flyer & a Raree Show

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Protected: Saltaire Festival & Ripley Ville Flyer

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Protected: Missing : the Colour Supplement in Bradford’s heritage offer – Part 1

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Cloth & Memory {2} : Mutable Frame of Reference

Mutable Frame of Reference : inside viewMaxine Bristow’s work ‘Mutable Frame of Reference – Installation – Material’, in the Cloth & Memory {2} exhibition in the Spinning Room at Salt’s 1853 Mill, is conceptually challenging. This post gives a personal but historically contexted reading of the installation that acknowledges the fluid frames, mutability and associative resonances of the work. Through these readings and the memories that the structural frameworks and curtaining evoke, the post settles, unsettlingly, on ideas of ‘warded’ space. From there it moves on to an account of an incident in the early 1860s when the ‘Lancashire Cotton Famine’ was near its peak and then comes back by way of the worsted trade to Bowling Dyeworks, the industrial model village of Ripley Ville and Salts Mill.

This is the second in a series of four posts on the Cloth & Memory {2} exhibition. A previous post has reviewed 6 other exhibits adding a commentary, in the form of supplements, that make connections between the exhibits and worsted dyeing, Bowling Dyeworks and Bradford’s ‘other’ industrial model village; Ripley Ville.

Theoretical underpinning

A future post ‘Colour Supplement’ engages with the theoretical positions that inform Maxine Bristow’s work (see Cloth & Memory {2}, page 38) and within their context uses the idea of ‘the supplement’ to critique Bradford’s understanding of its Victorian history and what this means for its heritage offer. This post revolves around and then enters into the exhibit to settle, unsettlingly on the idea of warded space. This is an idea that connects to the theory of a  ‘surveillance and a carceral society’ , associated with Michel Foucault and his account of structural (epistemic} changes in the relations between state, society and the individual in the early 19th century.

Cloth & Memory {2} : Mutable Frame of Reference

Occupying a central space in the Spinning Room of Salts 1853 Mill in Saltaire, Maxine Bristow’s work ‘Mutable Frame of Reference – Installation – Material’ is designed to be conceptually challenging.  It is one of 23 exhibits in the Cloth & Memory {2} exhibition that runs for its final week until Sunday, November 3rd.

View of whole installation : Mutable Frame of Reference

Image : copyright R L Walker 2013

At a distance, in spite of its central location, the tonal values of the cloths and the runs of matt metal rails allow an assimilation of the installation to the space of the Spinning Room. Approached, incongruities appear. The ‘Scandinavian’ blond-wood, the bent-wood components and smaller dimensions of the railings suggest technologies and a modern structure from the late 1950s or 1960s, certainly from a period that came after the hundred years when the Mill was in its prime.

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Protected: Cloth & Memory (2) : Absence makes the craft’s case stronger

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Protected: Just Visiting & News Update 2

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Protected: Something to Crow about

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Protected: A Different Bradford Promotion

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