Collection: week 1-8

research

10sep

eiko ishioka (practitioner)

Eiko Ishioka was a Japanese art director, costume and graphic designer known for her work in stage, screen, advertising and print media. personally, after researching her most recognizable and famous art pieces (which are mostly costumes) I tried to look at several interviews with her to find some special concepts and techniques that she's using. the film is the final masterwork of costume designer Eiko Ishioka. 

"Ishioka, who won an Oscar for her work on Francis Ford Coppola’s Dracula, created mind-blowing, surrealistic costumes that elevate the Grimm’s fairy tale to a spectacular, visually stunning, cinematic experience."  From: http://www.philstar.com/modern-living/2012-06-30/822728/eiko-ishioka-timeless-revolutionary-and-original

I found it particularly interesting that Eiko never followed trends and fashion and she still was very successful which is inspirational for me.

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Eiko Ishioka (practitioner)

Ishioka's concepts:

 

1. Eiko’s print ads, for example, showed naked models which were rarely seen in Japanese advertising then. “That was extremely shocking,” says Maggie Kinser Saiki, author of the book 12 Japanese Masters. “And yet she did it in a way that made you drawn to the beauty of it, and then you realize you’re looking at nipples.” 

 

2. “When I told Coppola that I considered myself more a production designer, he joked, ‘I want Eiko, who is NOT a costume designer to design the costumes for my film.’ she heard from various sources that her designs had heavily influenced the European fashion collections of that same year.”

 

3. Eiko would relate that during her 20s and 30s she was interested in the fashions of the times, but when she came into her own as a professional she just lost interest and stopped incorporating them into her work. She even stopped buying fashion and design magazines and books about what was cool at the moment.

 

4. true Eiko style, none of the store’s merchandise was featured in the advertising materials. Posters featured faceless Moroccan Berber women completely shrouded in their indigenous handwoven fabrics and jewelry, with the headline

 

5. “For me, fashion was really about human life, so I wanted the campaign to reflect a larger sense of the role it played in human society. In reality I had no interest in the trends that the fashion world was abuzz over. I leaned much more toward architecture and industrial design in my sensibilities. I had zero interest in the kinds of subject matter that would make a Vogue editor or other fashion journalist go aflutter.”

 

6. she once left a party in a huff because the hosts were such “slaves to design” that they had forgotten how to be hospitable to their guests!

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External media

costume designs

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dracula 1992

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mirror mirror 2012

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cirque du soleil (varekei)

the project that crossed the most boundaries for her was Varekai for Cirque du Soleil, collaborating with people from all over the world, conquering theatre, dance, music, the limits of physicality and global communication. “They were costumes that were functional in the highest sense while still telling a story and adding to the drama,” she said in an interview after a premiere of the show.

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Cirque du Soleil approached Ishioka to design costumes for their 2002 production 'Varekai', based loosely on the Greek drama of Icarus. There are over 130 costumes for the production comprised of over 600 elements, which require an estimated 250 hours a week to maintain. Varekai is argued to be Ishioka's most groundbreaking work, based around ancient greek myths and set in a forest full of exotic creatures. Varekai's title means "wherever" in the Romani language, and the show is an "acrobatic tribute to the nomadic soul". The show begins with the Greek myth of Icarus, picking up where the myth leaves off, reimagining the story of what happened to Icarus after he flew too close to the sun and fell from the sky. In Varekai, rather than drowning in the sea below him, Icarus lands in a lush forest full of exotic creatures.

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book research

here are some examples of the photographs from the Eiko book that found in the csm library. i took some pictures of the most relevant pieces to the research project that my group and me are doing. as our work is related to feather as a material i tried to see the feather theme in her work too. i also saw a very interesting thing: her work and feathers inspired me to look more into the tribe theme, especially at their use of feathers and how they accordingly to Eiko don't follow the fashion and trends. they are unique.

EIKO ISHIOKA + FEATHER + APPLIQUE = TRIBE THEME ? 

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what is fashion anyway

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be a poster

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the pulse of our time

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apocalypse to innocence

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applique (process)

appliqué əˈpliːkeɪ/

noun ornamental needlework in which pieces of fabric are sewn or stuck on to a larger piece to form a picture or pattern. "appliqué table linen"

Notes on appliqué from library research task:

All natural fibre constructions can be cut to a shape or left as they are ; synthetic fibre can be cut with scissors or a soldering iron. To apply them to a surface: stitching, bonding glues and PVA. [ Creative Recycling in Embroidery 746.44 ]

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history of appliqué

Appliqué is the name given to the decorative technique of sewing fabric shapes to a background fabric of a different color and has been around in some form for as long as humans have been able to use a needle and thread. Some believe that the idea of appliqué may have come from patching holes in worn garments or linens.

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As the images show, the most traditional method of applique is essentially stitching - used to create images and patterns onto surfaces especially quilts. Some examples from the library book showcase methods of layering various materials onto a surface to produce more elaborate or complex designs which could essentially feed into the idea of layering feathers.

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746.44

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tribe inspired sketch

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bibliography

http://www.ottawacitizen.com/Cirque+Soleil+Varekai+costumes+Eiko+Ishioka/11137783/story.html

http://www.philstar.com/modern-living/2012-06-30/822728/eiko-ishioka-timeless-revolutionary-and-original

Eiko by Eiko (391.023 ISH)

ANGAZA AFRIKA (african art now) by Chris Spring (709.6SPR)

Islam and Triabl Art in West Africa by Rene A. Bravmann (709.66)

Yoruba beaded crowns by Ulli Beier (391.96)

Tribal Decoration from Africa by Haus Silvester (391.96SIL)

Tribal Asia by Robert Schmid and Fritz Trupp (950SCH)

 

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ai wei wei

http://www.aiweiweineversorry.com http://www.academia.edu/4660485/A_research_paper_On_Ai_Weiwei_and_the_analysis_of_his_art_within_terms_of_History_culture_and_memory

this link was very helpful to get the main concepts of Ai Wei Wei's work, here is what i found particularly interesting:

-Ai makes interactive art is by using the internet. Ai Weiwei has incorporated socialmedia platforms such as Twitter into his work, which can be a social engaging form of installation. He works with his art in such a way as to incorporate social interaction,communication and within methods that can shock an audients and provoke a reaction.

-Weiwei has used aform of activism in his art, with political ideologies that exist because of the Chinesegovernment. He also uses a sense of memory and the countrys past and history. Most of his artinvolves the public and their outlook of the government.

-Ai Weiwei tells us that “For me, the Internet is about how to act as an individual and at the same time to reach massive numbers of unknown people”

-Weiwei also created the installation so that it would become an interactive piece, in which the public could interact with the seeds and that would enable to become a socialenvironment.

-The use of social, political, and cultural context can create an important part of socially engagingart, because it forms a collaborative spirit within the community. It creates a much stronger forcewithin the public that speaks on behalf of injustices, and it uncovers historical concerns that onecould relate too.

after reading this article i spent some time talking to one of the guys in my group who is from china himself and he told me more about the chinese government and that weiwei's art is forbidden in china. i found it particularly interesting and useful that in my university i can gain such information from primary sources such as people from my class, thanks csm for that!

the best part is that Ai's exhibition is starting soon in Royal Academy of the Arts, therefore i will definitely visit it to fully understand this artist and maybe his work will be useful in the future as well.

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Paul Stroper 31 Museum Street 26sep

oh my, i love london! you can just walk around and find some private art galleries that are not less interesting than the most famous galleries. so today was one of those days when i saw a small exhibition at paul stroper on museum street while exploring the centre of london. there were several interesting pieces of work and i uploaded the ones that i liked particularly the most. the first one is linocut printed in colours, i liked this piece because it reminded me of my own technique that i use: lines and stripes, so its like a graphic pattern with no shading and only the number of lines actually make the picture more or less realistic. i also really like the choice of paper, with is not plain white but instead quite beige. i think black and beige look very matching together. the second picture or even a pair that i liked is by reece jones, in this i think that the idea of the author is very inspiring, i mean there is no head and i would say something like this looks very scary but instead i find these pictures pretty, maybe that is due to the texture the author decided to give to those characters which is in fact quite fluffy and seems really soft. the choice of color is nice as well. black goes with pink! black goes with every colour..

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as time goes by, after a while, copper wire distorts the objects which are underneath the many layers of the wire. which in a way means that the memories that have been created fade away. or another thought that i had in my head is that sooner or later all the objects come to our lives and go from our lives meaning that memories which are represented by a copper wire stay forever, but the object that has been distorted disappears.

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Richard wentworth research

'Richard Wentworth has played a leading role in New British Sculpture since the end of the 1970s. His work, encircling the notion of objects and their use as part of our day-to-day experiences, has altered the traditional definition of sculpture as well as photography. By transforming and manipulating industrial and/or found objects into works of art, Wentworth subverts their original function and extends our understanding of them by breaking the conventional system of classification. The sculptural arrangements play with the notion of ready-made and juxtaposition of objects that bear no relation to each other.' (from http://www.lissongallery.com/artists/richard-wentworth)

lisson gallery

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plume 2012

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somerset house 3oct

i fell in love with this unfinished Edgar Degas painting called "the woman at a window" 1871-72. for some reason this unfinished background and the warm colour of it is very eye pleasing. moreover, degas loved experimenting with technique and this picture was made with paint drained of its oil and thinned with turpentine, creating an effect similar to watercolour.

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Text box

even though this work seems like the artist Frank Auerbach has completed it very quickly, but i personally love the colors which are monochrome and moreover, when you look in-depth you can see different objects e.g. a cup strong and confident black lines give a nice contrast

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louis vuitton series 3 3oct

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tate modern 10oct

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feminism and politics.. this is how i would describe "this world goes pop" exhibition

'The point of this exhibition is to move away from the hoary story of Anglo-American Pop Art, which was invented in London during the Fifties by the Independent Group, including Richard Hamilton (another notable absentee from the Tate show), before exploding in New York in the early Sixties.' (the telegraph)

i really liked the there were 10 rooms where each had a story behind the work. some of the work i was really impressed by, but some were not really eye pleasing like the work by Angela Garcia 1944 who deconstructed the image of the female body, using fragmentation as a critical tool to renegotiate representations of femininity. i didn't particularly like her work because there is so much art on the whose feminism issue, especially nowadays, therefore i enjoyed looking at the work which is connected to the politics more. 

Like another work by Zielinski on show nearby, The Smile, or Thirty Years, Ha, Ha, Ha (1974), in which three ominous blue crosses stitch shut a pair of red-and-white lips floating against navy, Without Rebellion attacks censorship in the People’s Republic of Poland with great economy and formal poise – and a brutal frisson of menace. As Lichtenstein might say: KA-POW! Zielinski is typical of the many artists in this exhibition who worked within the Pop mode pioneered in London and New York, but adapted it to their own political ends. In fact politics – in the sense of raging protest and mass demonstration – is an essential part of the curators’ new vision of global Pop. Everywhere we turn we find hard-left dissatisfaction with the political status quo. American imperialism, the Vietnam War, nuclear bombs, the corrosive promises of capitalism: all come in for a drubbing. This one really impressed me because of another factor which is when i was doing the ideas factory project, i came up with the idea that people in my final piece would be with their mouth sewn, i was inspired but he work of ai wei wei back then and my whole point was to raise the awareness of how people in china have no voice. and the work by Zielinski is a perfect artist reference. 

 

Aside from politics, the other, arguably more successful theme is sex – specifically, the way that women are presented in the media. In the past, Pop Art has occasionally been criticised for being sexist. Recently, though, a number of forgotten female Pop artists have been rediscovered.

 

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10oct

 

 

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Diana Vreeland – ‘The Eye Has to Travel’ Directed by Lisa Immordino Vreeland

"Diana Vreeland (September 29, 1903[2] – August 22, 1989), was a noted columnist and editor in the field of fashion. She worked for the fashion magazines Harper's Bazaar and Vogue and as a special consultant at the Costume Institute of the Metropolitan Museum of Art. She was named to the International Best Dressed List Hall of Fame in 1964." (https://en.wikipedia.org/wiki/Diana_Vreeland)

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Methods of Communication

1.1. TEXT LINK

Text is the most obvious form of communication that takes place online. Whether the text is in the main body content of the page or a headline, most website visitors rely on text to understand the basic messages of a website. Depending on the type of the website, text may be extremely critical to communication, as in the case of blogs. The approach taken with text will depend on the purpose of the website. 

1.2. IMAGES LINK

We’ve all heard the saying “A picture is worth a thousand words.” Photos and images are excellent resources not only for creating an attractive and interesting design, but also for communication purposes. Images can often communicate a message faster, more clearly and more emphatically than text. The designer needs to be aware of the messages being communicated via images and ensure they work in harmony with the rest of the website’s communication. 

1.3. TITLES AND HEADERS LINK

titles and headers are critical to effective communication. Human nature is to want to know something quickly, and especially when on the Web. Titles and headers help to communicate major points and ideas to visitors, and they tell visitors what to expect from the rest of the content.

1.4. ICONS LINK

One of the reasons icons are so useful in Web design is that they communicate messages without any text being used. A visitor may see a familiar icon, such as a house that represents a link to the home page, and immediately know what the item represents and what to do.

1.5. DESIGN STYLES LINK

The style can, in these cases, indicate to visitors something about your website and how it fits their needs

1.6. COLORS LINK

 Sometimes colors are chosen just based on what looks good, but other times the psychology of color comes into play. Colors not only play a large role in determining how a website looks, but also communicate messages to visitors in certain ways.

1.7. AUDIO AND VIDEO LINK

As audio and video have become increasingly common, many new opportunities have arisen for effective communication online. Designers and website owners have plenty of options in how they communicate with their visitors, and audio and video have some definite strengths that make them a tremendous method of communication.

 

(http://www.smashingmagazine.com/2009/02/clear-and-effective-communication-in-web-design/)

 

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we open the website page and we see a bright title of the website, some pretty pictures of the bloger and paris (which is obviously a very attractive place) we also see some eye pleasing and satisfying warm colours. the icons from instagram, Facebook and twitter etc are in the top right corner so viewers of the website can check those out straight away. the front image also changes every five seconds, so the viewers can quickly click on what catches their attention quickest. on top there is a headline with the main pages of the website, which is very easy to navigate. this is, for me, a perfect example of how communicating a message should look. pretty pictures, nice places, not so much text and also something interesting.

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11 oct

taschen

http://www.taschen.com/?gclid=Cj0KEQjwtO2wBRCu0d2dkvjVi5cBEiQAMEIVGZa0m7a9b2nP_LIZ_n4ZSCEFa2feHKB8g7L4y4xi4cEaAuoo8P8HAQ

 

'lesser-seen art available to mainstream bookstores, including some fetishistic imagery, queer art, historical erotica, pornography and adult magazines (including multiple books with Playboy magazine). Taschen has helped bring this art into broader public view, by publishing these potentially controversial volumes alongside its more mainstream books of comics reprints, art photography, painting, design, fashion, advertising history, film, and architecture' (from Wikipedia)

 

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redblackwhite

"Red ochers are among the most widely used pigments. They can be traced back to the earliest cave paintings. Red ocher can be found in natural form in volcanic regions or can be produced by heating yellow ocher. There are many variations or red ocher: a light, warn tone is Venetian Red, darker, more cool-toned purple versions is called Indian Red, or Caput Mortuum. The choicest source for red ochre in classical antiquity was known as Pontus Euxinus, from the Pontine city of Sinope, according to Pliny. The coloring agent of al these pigments is iron oxide. Although there are many shades of red ocher they all appear subdued when compared to vermillion. Red ocher is very opaque and absorbs much oil. Medieval and Renaissance painters used red ocher for fresco, tempera and oil painting. It was also used for drawing. It mixes well with other colors and produces a great variety of natural shades" (http://graphicdesign.stackexchange.com/questions/48998/origin-of-the-color-red-in-early-typography)

 

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El Lissitzky's extraordinary typographic work: page spreads for a book of poems by Mayakovsky

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Lazar Markovich Lissitzky (1890 – 1941), better known as El Lissitzky, was a Russian artist, designer, photographer, teacher, typographer, and architect. He was one of the most important figures of the Russian avant garde, helping develop suprematism with his friend and mentor, Kazimir Malevich.

 

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"The story of the little red square". Book design by El Lissitzky

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illustration now! 4 by Julius Wiedemann

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fashion's free exhibitions?

visually beautiful

a new form of marketing!

promotion of brands

 

London is currently playing host to two free fashion exhibitions: Chanel’s Mademoiselle Privé at the Saatchi Gallery, and Louis Vuitton Series 3.

Another similar exhibitions that i went to are the Jean Paul Gaultier exhibition at the Barbican and, of course, Savage Beauty at the V&A. However,there is a crucial difference between them – apart from the fact that they were both paid-for, the JPG and McQueen retrospectives were curated by external curators and held in collaboration with the brands, the Chanel and Louis Vuitton exhibitions are operations produced in-house. 

Now – while the air of exclusivity remains – it seems that the barrier between fashion and its fans is slowly being lowered. Perhaps social media has woken houses up to the fact that the public “buying into” the brand doesn’t devalue it.

While purchasing a Louis Vuitton bag remains the privilege of a financial minority, taking home some stickers available for free at the gallery’s gift shop does not – and yet provides a small way in which people can access the brand. Similarly, entering the marble-floored confines of the Chanel’s New Bond Street establishment is an intimidating experience for most people, but going to a public exhibition is not. Here you’re permitted to marvel the craftsmanship of the house’s ateliers, without acting under the pretense of genuinely considering making a purchase. Louis Vuitton’s creative director Nicolas Ghesquière told Business of Fashion in July, expanding on the Series 3 exhibition.

However there’s something interesting about the houses’ decisions to display their designs in a gallery space, particularly in the case of Louis Vuitton, who are exhibiting their not-even-a-season-old AW15 collectionthe one that can be currently found in stores. In today’s climate, social media is a crucial component to any marketing strategy and one which exhibitions, particularly in the case of Instagram, are ideally catered towards.

In fact, Louis Vuitton Series 3 was specifically engineered to the app, providing grade-A feed fodder for the snap-happy generation of today’s fashion fans. This is something to which the 20,406 pictures (by today’s count) on the app tagged with #lvseries3 will attest. Just as shows provide a way for images of houses’ new collections to be transmitted all around the world, this exhibition does too, with pictures of Louis Vuitton’s new advertising campaigns, ready-to-wear and accessories (which are currently on-sale) flooding peoples’ feeds. Brands are marketing themselves through the carefully curated lens of a fashion exhibition. They are opening themselves up to a new, vast audience while maintaining their aura of exclusivity by presenting their products are high art, sometimes even hidden behind cases of glass.

As for whether these exhibitions are democratising fashion or a new form of marketing, the answer is perhaps a paradox: they are managing to do both.

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feathers (material)

Through the research in books in the library we found that feathers have a variety of uses including:

-Camouflage

-Insulation, to maintain a stable body heat

-Visual signals, in order to attract a mate

-Keeping birds dry through the process of preening, which is where a bird will coat its feathers with a waterproof oil found in a gland near the base of their tail.

-Enables flight, in fact, some birds can have up to 25,000 feathers but in order to stay air worthy the majority of species replace most of their plumage at least once a year. Due to feathers being made of Keratin (the same material found in our fingernails and animal claws) this makes them very durable yet flexible at the same time. Therefore, this allows forward movement and lift Due to their incredible flexibility feathers can also bend at almost a right angle.

Types of feathers and their uses

After looking at several facts about the properties of feathers I decided to explore the various types of feathers and their biological structure. I found that birds consist of three different types of feathers which are:

Down feathers: They are small, soft, fluffy and are found under the

Contour feathers: They have many non-interlocking arbs, lacking the barbules and hooklets seen in Contour and Flight feathers. This makes it possible for them to trap air in an insulating layer next to the skin, protecting the bird from heat and cold. Contour feathers Are those which cover most of the surface of the bird and provide a smooth appearance. Their main property is to protect the bird from sun, wind ,rain and injury. These feathers are often brightly coloured with different colour patterns. Contour feathers are divided into flight feathers and those that cover the body.

Flight feathers: Are the large feathers located at the wings and tail. Flight feathers of the wing are known as the Remiges and are separated into three groups. The main uses of Flight feathers are enabling flight and courtship.

 

 

Spiritual meaning of feathers within Tribal Culture

After looking at the practical aspects of feathers i decided to explore the symbolism behind feathers, particularly within tribal culture. This led me to look at the spiritual relationship between Native American tribes and feathers. Firstly, i researched traditional tribal clothing, especially headdresses which are made out of an array of different types of feathers, each with their own individual meanings and values. Within Native American culture feathers were seen as gifts from the sky, sea and trees. Furthermore, it was believed that the feather possesses supernatural powers that empowered the individual who wore them with the powerful characteristics and traits of the bird. The purpose and symbolic meaning of feathers varied from tribe to tribe.

 

 

Different types of feathers and their meanings

Eagle - strength, courage and prestige

Golden eagle and bald eagle - most sacred

Crow - skill and cunning

Falcon - speed

Owl - wisdom

Raven - creation and knowledge

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tribal culture

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Tribal Decoration from Africa

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natural material and appliqué

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first draft

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final draft

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ai wei wei exhibition 20sep

Finally went to see Weiwei's exhibition at the Royal Academy of the Arts. it was just a second day since the exhibition has started and it was so crowded there. i was glad to see a nice variety of his work. new things such as 'BICYCLE CHANDELIER 2015' 'FREE SPEECH PUZZLE 2014' 'COCA COLA VASE 2014' and old ones as well as 'HANGING MAN 1986' 'TABLE WITH THREE LEGS 2011' 'KIPPE 2006' 'STRAIGHT 2008-12' 'SHANGHAI STUDIO MODEL 2011' 'HE XEI 2011' 'FRAGMENTS 2005'.

Despite the fact that Ai Weiwei has been written out of history in China and his name doesn’t even come up on the Chinese version of Google, the story of Chinese political power is everywhere in this show. Maps etched out in steel bars and temple fragments create a new perspective on the country and allow visitors to wander through the borders with a freedom that most Chinese citizens never experience. It’s poignant for an artist that began life in a labour camp where his father was cleaning municipal toilets for his criticism of Communism, that his work comments on the struggle of past generations for political and social freedom.

The Chinese artist and dissident Ai Weiwei is in London for a major retrospective of his work at the Royal Academy of Arts. Ai Weiwei had initially been refused a six-month visa by the British government and was not expected to attend. The exhibition looks at the last 20 years of his work, including political pieces relating to his time under arrest in China and to the 2008 Sichuan earthquake.

The activism and the art are one, Ai has said; and almost all the art in this show speaks to the conditions of Chinese life. Over the years, Ai has employed a vast team of compatriots to expand this point. There is a lot of renovated pop here – Chinese vases dipped in high-chrome paint, Coca-Cola crassly inscribed on a 2,000-year-old bowl (raising the obvious question of whether the artefact would now be more or less valuable). Presumably this must have special significance to Chinese viewers, but it feels otherwise commonplace. Pop, as if we didn’t know it, became a convenient megaphone for propaganda.

In some respects, what’s on show at the Royal Academy are the relics of a lifetime’s performance art. Straight: ‘a solemn and poignant commemoration’. Facebook Twitter Pinterest Straight: ‘a solemn and poignant commemoration’. It is no surprise that the strongest works here are the largest – Ai is at his best on a grand scale – and the most searingly political.

He makes great sculptural objects from Chinese antique furniture and timber reclaimed from destroyed temples. One is composed of ironwood, some parts of which are nearly four centuries old, and looks like a laid-out mattress on the floor and at the same time a map of China. Where Straight has problems of form and content, this work, entitled Bed, is satisfying and could be returned to repeatedly and always seem surprising. It’s a marvel. Separate parts are joined using hidden mortise-and-tenon joints. Beautiful and thoughtful.It sustains a set of teasing ideas: what is a nation, how can things of different ages fit together?

I really enjoyed the whole exhibition and it was particularly interesting for me as my the most recent project was on his concepts. This exhibition has fully introduced me to his work and i just loved that even though so many people especially from china are against his art and it's forbidden, ai still makes what he wants to make and what he wants to show people. mi think that this is very important for an artist, when you do what you want because it truly opens your mind and imagination. nothing restricts your ideas..

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Alice Anderson exhibition 27sep

"Their funeral wrappings glisten fierily in the spotlights that pick them out in a theatrically darkened space. All our yesterdays are here, the things we use and throw away, lost and found in spidery cocoons. Alice Anderson wraps things in copper wire. It is a banal description of an art that gets some very curious and uncanny results" by the Guardian.

i have never seen something so beautiful in my life, that exhibition was something so different from what you see, especially because alice uses such normal every day objects that we see in all the time e.g. bikes, phones, stairs etc. when you just walk into the exhibition room you see someone wiring around a car with non stop movements, which is done in order to represent how memories are being created all the time and then they stay with us forever. i also came to the conclusion that alice also relates her work to her fascination with science and particularly the brain, among other things, and that’s why it is here at the Wellcome, where all the scientific exhibition can be seen. this whole idea of brain and memory reminded me of the book i was reading last year. there was a lot on the psychological theories about memories and events that are being created by humans. we have short term memory and long term memory which duration is infinite therefore i think that in this exhibition we could see a clear example of these long term memories being created. the wire is wrapped around objects, which are everyday objects so wee see or use them everyday. therefore we create memories connected to them and the whole concept of repetition is what makes long term memories appear. therefore by wrapping around the object with a copper wire over and over again alice creates memories. on other hand, as a personal minimalist lover, it was very eye pleasing to see monocoloured background like black or white and the same color of copper wire which was accurately done on every single object.

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world soup 1991

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"Wentworth’s sculpture takes as its subject the semantics of the everyday world, taking readymade and frequently incongruous objects and arranging them in a fashion that forces us to recognise the drama inherent in that which we too easily dismiss as routine.

His photography captures the unusual or counter-intuitive behaviour of things, treating the (generally urban) landscape as consisting of readymade works that merit the same attention as more traditional art objects. The effect might be compared to having a film of dirt removed from one’s eyes."

 

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a room full of lovers 2013

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this extraordinary thickness gives this painting by Frank Auerbach (1962) an amazing overall image, i actually felt the mood of the painting because it seemed to be able to touch me because its more of a 3d work. a very interesting structure and surface!

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finally i went to the Louis Vuitton ‘Series 3′ exhibition, which is a multi-sensory exhibit designed to take guests through the inspiration behind Nicolas Ghesquière’s Fall 2015 collection. (‘Series 1’ for Autumn/Winter 2014 was exhibited in Shanghai and Tokyo and ‘Series 2’ for Spring/Summer 2015 was exhibited between LA, Beijing, Seoul and Rome.) The exhibit spans 13 rooms, each depicting a different aspect of the designer’s mind, from the geodesic dome structures built for runway shows to Accessories Gallery, featuring Marte Mei van Haaster’s multiple accessories from the Fall 2015 collection.

i particularly enjoyed the ‘Infinite Show’ where the 50 looks from the collection are projected onto 25 double-sided life-sized screens, which gives visitors a close-up view reminiscent of the front row at their show.

An exhibition highlight is that as you move from room to room, discovering the brand’s history (such as in the CAD room featuring replicas of the original suitcases with graphics of shoe designs and rotating walls) it stimulates a trippy, almost drug-induced experience. It’s clear to see where the current creative director gets his inspiration.

The Artisan department is a live-action display where attendees witness an actual artisan from the LV atelier (along with a translator) painstakingly creating one of their highly coveted bags.

One Instagram-friendly addition to the exhibition were the wall-crawling statues of the White Room and we do mean white! The glacial neutrality of the colourless statues skilfully allows the featured shoes and bags to be the centre of attention.

the whole exhibition has become one of my absolutely favorite ones because every single thing was very well organized and thought through starting from the room designs and ending with the live action display where you can actually see how the real lv bags are being made. i also thought that the whole exhibit is a very new innovative way of marketing because first of all it's free and secondly the whole show therefore gathers millions of people which mens that some of them will definitely get a lv bag after the exhibit and over some time lv will cover all the losses made earlier. in terms of artistic point of view, all the projections and displays were very eye pleasing and esthetically beautiful. a lot of modern technology was used and some examples of old bags were displayed as well. the atmosphere of the louis vuitton has fully absorbed me!

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nicola L

this costume was designed for musicians performing at the isle of wight festival in 1969. 11 people at once. for me personally, this costume makes me think of the whole communist issue straight away. firstly because of the red color, which is the main communist color and secondly because of the fact that when people are wearing it, they are all the same, they follow the same direction, they do the same thing and they even look the same. this is exactly what communism is about.

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'Style was a standard,' she declared, remembering her 26 years as fashion editor of Harper's Bazaar (she joined the magazine in 1936, departing in 1962 to become editor-in-chief of American Vogue). 'You gotta have style. It helps you get down the stairs. It helps you get up in the morning. It's a way of life. Without it you're nobody. I'm not talking about lots of clothes.'

'Diana lived for imagination ruled by discipline, and created a totally new profession. Vreeland invented the fashion editor. Before her, it was society ladies who put hats on other society ladies.' 

(http://fashion.telegraph.co.uk/article/TMG9503968/Scarlet-woman-the-legendary-editor-Diana-Vreeland.html)

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for me, graphic design is one of the most interesting studies, because its basically everything: fashion, fine art, 3d design etc. via graphic design the message is communicated to people. 'Fashion Communication is the activity that supports or encourages the promotion and purchases of fashion products, through photography, film, digital media, performance, music, advertising and journalism' which means that message is received by people through various means of media and art. this is exactly what makes graphic communication so interesting to me. it's about nowadays world, and even looking back ten, when diana vreeland was the woman without whose approval nothing in the world of fashion could be done. which is the job of anna dello russo now. she is also currently the editor-at-large and creative consultant for Vogue Japan. therefore i came to a conclusion that there is always someone in the fashion world of communication whose approval is needed and whose job is to be an icon. 

i have also looked at the websites from the brief, which are fashion online magazines. or i can say that for me they are more like fashion blogs, which are so popular now.. i even added my two the most favourite bloggers onto the list, who are super successful and popular. especially chiara feraggni. 'An avid Instagrammer, Chiara inherited a passion for photography from her mum and is now a daily source of style inspiration for millions of people. If you're a number cruncher, Chiara has 3.7 million Insta-followers, she made Forbes' 30 Under 30 List, she has a staff of 16, and was on track to make a solid $8 million in 2014. She was also named by Business of Fashion as one of the most influential personalities of the international fashion world.' (http://www.glamourmagazine.co.uk/fashion/celebrity-fashion/2015/01/chiara-ferragni-the-blonde-salad-fashion-blogger

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so what makes a good blog/online magazine?

1. define your magazines niche

A niche is simply the topic which your magazine will be focused on. You may decide to write about fashion, digital trends, business, gaming, or quite literally any other topic. If you hold a deep enough interest in a topic to launch a magazine and write articles about it, odds are good there’s other people out there interested in reading. Never worry about your market size being too small or too large.

2. align your cardinal goals 

What do you hope to accomplish from the launch? The end result is generally a large enough profit to peacefully live on but there has to be more. What are your true passions? In what activities do you derive most of your interest and curiosity?

3. keep plenty to write about

The amount of knowledge you already hold on the topic is irrelevant. With so much information available at just the click of a button even an hour’s time is plenty to research and grow your knowledge. The true defining factor is how passionate you are to research these topics and write about them. 

5. imagine your perfect design

Keep ideas written down for what your ideal design would look like and if you can’t launch with it plan to get creative in a few months after you know this whole blogging thing is for you. Borrow elements from physical design magazines. Inspiration doesn’t need to come directly out of the Internet just because that’s your medium of choice. In fact, trends in physical magazines can easily be carried over into the digital world. Another simple exercise you may consider is checking out your local bookstore or magazine stand.

(http://www.hongkiat.com/blog/creating-and-running-a-profitable-online-magazine-part-i/)

 

 

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pentagram library research

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richard kilroy

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mademoiselle prive 14 oct

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#lvseries3

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