tag:blogger.com,1999:blog-53815593196047513202024-03-05T14:42:43.630-08:00FORM AND SURFACEAlexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-5381559319604751320.post-29365400260792478962014-11-27T14:23:00.001-08:002014-11-27T14:54:12.396-08:00Lessons from the Bauhaus<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">1. Johannes Itten, theorist and painter, developed the first</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">preliminary course taught to all students at the Bauhaus between 1919-23 2. Rudolf Lutz, <i>Plaster Relief: Preliminary course study under Johannes Itten,</i> </span><span style="font-family: Arial, Helvetica, sans-serif;">1920-21 </span><span style="font-family: Arial, Helvetica, sans-serif;">3. Pages from Paul Klee's 'Pedagogical Sketchbook', original edition of the book first published in 1925 (the second of fourteen Bauhaus Books produced by tutors at the Bauhaus) 4. Paul Klee, </span><i style="font-family: Arial, Helvetica, sans-serif;">Separation in the Evening</i><span style="font-family: Arial, Helvetica, sans-serif;">, 1922 5. Gertrud Arndt, </span><i style="font-family: Arial, Helvetica, sans-serif;">Four study sheets from Paul Klee’s course</i><span style="font-family: Arial, Helvetica, sans-serif;">, 1923-24 6. Johannes Zabel / Lucia Moholy (Photo), </span><i style="font-family: Arial, Helvetica, sans-serif;">Photograph of a Study in Balance: from a class taught by Moholy-Nagy</i><span style="font-family: Arial, Helvetica, sans-serif;">, 1923-24 (László Moholy-Nagy taught the preliminary course alongside Joseph Albers from 1923-28) 7. Assessment of work from Albers’s Preliminary Course, 1928-9 (Albers taught the course from 1923-1933) 8. Arieh Sharon, </span><i style="font-family: Arial, Helvetica, sans-serif;">Turning two dimensional sheets of paper into three dimensional forms: Preliminary course study under Joseph Albers</i><span style="font-family: Arial, Helvetica, sans-serif;">, 1926-27 9. Joseph Albers, 'Interaction of Colour', Originally published as a series of screen prints in 1963 while a fellow at Yale (this cover of the paperback book version depicts a study employing a careful selection and use of opaque pigments to achieve an illusion of transparency) </span></div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-10630322674830867592014-05-22T04:58:00.002-07:002014-05-22T05:07:30.471-07:00Lovers<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1. Réne Magritte, <i>Les Amants III</i>, 1928 2. Réne Magritte, <i>Les Amants IV</i>, 1928 </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3. Oji Suzuki, <i>Evening Primrose </i>(from 'A Single Match'), 2010 4. Oji Suzuki, <i>Evening Primrose </i></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(from 'A Single Match'), 2010</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i><br /></i></span>Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-77086296292327670022014-05-14T15:53:00.001-07:002014-05-14T15:57:19.609-07:00Varvara Stepanova<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="color: #444444; font-family: Arial, Helvetica, sans-serif;">1. Varvara Stepanova and Alexander Rodchenko 2. Varvara Stepanova with parts of her set design for <i>The Death of Tarelkin</i>, 1922 3. Textile design 4. Textile design 5. Varvara Stepanova wearing one of her designs 6. <i>Charlie Chaplin Turning Somersaults</i>, 1922 7. <i>The Proletariat is the creator of the future not the heir to the past</i>, 1919 8. <i>Study the old, but create the new</i>, 1919</span><br />
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<span class="Apple-style-span" style="color: #444444; font-family: Arial, Helvetica, sans-serif;"><br /></span>Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-36491250526741235572013-08-19T13:01:00.000-07:002013-08-19T13:01:34.200-07:00Paul Nash - Stages<div class="separator" style="clear: both; text-align: center;">
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1. Paul Nash, <i>Diving Stage</i>, 1928 2. Paul Nash, <i>Mansions of the Dead</i>, 1932 3. Paul Nash, <i>Moon Aviary</i>, 1936-7</div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-84733259351710247142013-07-30T15:30:00.002-07:002013-07-30T15:39:31.501-07:00Rocks<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1. Andrea Mantegna, <i>The Agony in the Garden</i>, 1457-1459 2. Andrei Tarkovsky, Still from <i>Stalker</i>, 1979 3. Jiro Taniguchi, Page from <i>The Walking Man</i>, 1992 4. Katsushika Hokusai, <i>Studies from Rocks</i>, 1815 </span></div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-32644025851127800622013-06-28T12:06:00.004-07:002013-06-28T14:48:03.540-07:00...I think of Magritte<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif;"><br /></span><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif;">'Whenever I drive in any mountainous region and look at the line against the sky, I think of Magritte. And whenever I see beautiful, perfect clouds in the sky, he's the first thing that comes to mind. I think there is a humanity, a generosity and a kindness to others in Magritte's work. He takes the viewer into account. And I have always found the economy of his images very moving. They communicate very purely and directly. One of the most profound pieces of Magritte's is </span><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif;"><em style="background-repeat: no-repeat no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Discovery</em></span><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif;"> [1928]. It is an image of a woman whose flesh resembles the grain in wood. There is this aspect of Magritte which is about dealing with the world around us, and there is a certain materiality, a reality about that world that he creates, even though he makes these strange juxtapositions.</span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial, sans-serif;">It is hard to imagine a lot of the computer programs that we work with in daily life, such as Photoshop, without the influence of Magritte. We owe to Magritte the many ways that we see the world through transparency or gradation. So I hold him in high esteem for showing us how images can be overlapped, or how they can be gradated into each other.' </span><br />
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Jeff Koons<br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">1. Réne Magritte, <i>Le Monde des Images</i>, 1950 2. Kumsusan Palace of the Sun, North Korea </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">3. Réne Magritte, <i>Le Siècle des Lumières</i>, 1967 4. Clip art banner on cheese image</span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Quote from <a href="http://www.guardian.co.uk/artanddesign/2011/jun/19/rene-magritte-surrealist-favourites-tate" target="_blank">here</a></span><br />
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-40883719693206667882013-05-03T08:55:00.002-07:002013-05-03T09:04:02.532-07:00Albrecht Dürer studies<div class="separator" style="clear: both; text-align: center;">
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1. Albrecht D<span class="Apple-style-span" style="font-family: Arial;">ü</span>rer, <i>Three studies of a helmet</i>, c.1503 2. Albrecht D<span class="Apple-style-span" style="font-family: Arial;">ü</span>rer, <i>Muzzle of an Ox</i>, c.1502-4</div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-26474386017594154082013-04-25T10:25:00.000-07:002013-04-25T10:30:42.900-07:00Ceramic Components<br />
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1. Turbine component 2. Boron nitrate ceramic shapes 3. Black and white zirconia component 4. Ceramic honeycomb filters 5. Ceramic knee prosthesis component 6. Total knee replacement system comprising of ceramic components</div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-18905686015761840852013-04-11T02:52:00.002-07:002013-04-11T02:53:28.560-07:00Giovanni Bellini / David Lynch<div class="separator" style="clear: both; text-align: center;">
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1. <i>Sacred Allegory</i>, Giovanni Bellini, 1490-1500 2. The Red Room from <i>Twin Peaks - Fire Walk with Me, </i>David Lynch, 1992 3. Stage in <i>Eraserhead</i>, David Lynch, 1977</div>
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<br />Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-39132965958746595342013-03-11T17:30:00.004-07:002013-03-11T17:42:33.871-07:00Matthias Grünewald Drawings<div class="separator" style="clear: both; text-align: center;">
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I recently came across two works by Matthias Grünewald in a book of German master drawings. His works seem to utilize the academic, classical Renaissance feel and technique of his contemporary D<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">ü</span>rer while retaining an expressive quality to anatomy and scale as seen in works by earlier artists such as Dirk Bouts, Rogier van der Weyden and even Giotto. These drawings really accentuate this merging of styles. I find his work fascinating partly because it seems so strangely singular in its stylisation of forms, but also because of its scarcity, (both features of another interesting painter who worked in Italy at around the same time, Jacapo Pontormo, and whose greatest works, like Grünewald’s, remain in situ in hard to find churches rather than on the usual museum circuit). Sadly, very few of Grünewald ‘s works survive, less than fifty paintings and drawings in all from what I have read. Some time around 1631-2 a number of his works, including an altarpiece of three panels, were lost in a shipwreck while being transported to Sweden. There are few records of his life, but the writer W. G. Sebald in his book <i>After Nature</i> writes of how he is said to have led a mainly reclusive existence beset by hardships. Sebald also vividly describes Grünewald’s great work the Isenheim altarpiece, drawing on the details that make it so strange: ‘Spreading out above them is the branch work of a fig tree with fruit, one of which is entirely hollowed out by insects.’<a href="http://www.blogger.com/blogger.g?blogID=5381559319604751320#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="Apple-style-span" style="color: #666666;">[1]</span></span></span></a></div>
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1. Study for Mary Magdalene 2. St. Johannes 3. St. Dorothy 4. Study for weeping figure 5. Portrait of Guido Guersi 6. 1934 Publication<br />
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-1261427457646623942013-03-06T15:07:00.000-08:002013-03-06T15:11:23.067-08:00Glass / Cheese<div class="separator" style="clear: both; text-align: center;">
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1. Molten glass being rolled into continuous sheets 2. Processed cheese sheets</div>
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-76259447888429857622013-02-13T15:47:00.002-08:002013-06-14T08:49:15.630-07:00Spatial Constructions<div class="separator" style="clear: both; text-align: center;">
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1. <i>Spatial Graphics No. 48</i>, Petr Miturich, 1921 2. View of Petr Miturich's studio, 1921 3. <i>Spatial Constuction No. 5</i>, Aleksandr Rodchenko, 1918 4. <i>Model for the set of Khlebnivov's poem 'Zangezi', Vladimir Tatlin 1923</i></div>
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-4137983349325754862013-02-12T08:28:00.000-08:002013-02-12T08:44:18.322-08:00Pekka Halonen<div class="separator" style="clear: both; text-align: center;">
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1. <i>Winter Landscape at Kinahmi</i>, 1923 2. <i>Kinahmi Winter</i>,<i> </i>1923</div>
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-17245955705299862072013-02-07T14:08:00.002-08:002013-02-08T00:21:47.122-08:00Emerging / Holey<div class="separator" style="clear: both; text-align: center;">
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1. Man in port hole 2. Mao Zedong swimming 3. Wade Guyton 4. Holey ground</div>
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-83801682538055698812013-02-06T14:17:00.000-08:002013-02-06T15:39:03.518-08:00Cellulose<div class="separator" style="clear: both; text-align: center;">
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1. 'This syrupy substance is cellulose obtained from plant material after it has been treated with caustic soda and carbon disulphide. It is used to produce the man-made fibre rayon.' </div>
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2. 'Cellulose fibre is mechanically baled in the manufacture of rayon. The gauge of the fibre can be adjusted to make textiles of various strengths and weights.'</div>
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Alexhttp://www.blogger.com/profile/10544699724927497771noreply@blogger.com0tag:blogger.com,1999:blog-5381559319604751320.post-25922300419703485692013-02-05T02:58:00.000-08:002013-02-06T11:39:27.156-08:00Odol<!--[if gte mso 9]><xml>
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‘Odol, a brand of German mouthwash, was a pioneering firm in
research into graphics, through the development of its own brand image. The
bottle is of a simple, functional design (but) on the posters the bottle is
often associated with romantic landscapes. One poster puts a B<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">ö</span>cklin
landscape on the little bottle. On another, the letters ‘Odol’ outline a Greek
amphitheatre in a landscape evoking the ruins at Delphi. Contrasting with the
functionalist unity of message and form are three extrinsic forms of sensitization
that associate utilitarian gargling with dreamlike scenes. But… forms that are
‘extrinsic’ in one sense are not so extrinsic in another. Odol’s graphic
designer in fact utilizes the quasi-geometrical character of the brand’s
letters, treating them as visual elements. The latter take the form of three-dimensional objects that wander
in space, are distributed in the Greek landscape, and outline the ruins of the
amphitheatre. The transformation of the graphic signifier into visual volume
anticipates certain uses of painting; and Magritte did indeed draw inspiration
from the Odol amphitheatre for his <i style="mso-bidi-font-style: normal;">Art de
la conversation</i>, where an architecture of ruins is likewise constructed in
letters.</div>
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<br /></div>
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The equivalence of the graphic and the visual creates the
link between the poet’s types and the engineer’s. It visualizes the idea which
haunts both of them – that of a common physical surface where signs, forms and
acts become equal. On Odol posters, alphabetical signs are playfully
transformed into three-dimensional objects subject to a perspectivist principle
of illusion. But this three-dimensionalization of signs precisely yields a reversal
of pictorial illusionism: the world of forms and the world of objects make do
with the same flat surface – the surface of alphabetical signs. But this
surface of equivalence between words and forms proposes something altogether
different from a formal game: an equivalence between the forms of art and the
forms of objects of everyday living. The ideal equivalence is rendered literal
in the letters, which are also forms. It unifies art, object and image at a
level beyond the things that oppose the ornaments of the Symbolist poem or
graphic design, governed by the idea of ‘mystery’, to the geometrical and functional rigour of the
engineer’s design.’</div>
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<br /></div>
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<div class="MsoNormal">
Jaques Ranci<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">è</span>re – <i style="mso-bidi-font-style: normal;">The
Surface of Design<o:p></o:p></i></div>
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<i><br /></i></div>
<div class="MsoNormal">
<i><br /></i></div>
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<span lang="EN-US" style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">1. 'Odol'
spelled out at the 1908 London Olympic games 2. Odol advert 1906 3. Odol advert
1907 </span><span lang="EN-US">4. <i>The Art of Conversation</i>, 1950, Ren</span>é Magritte 5. <i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">The Art of Conversation</span></i><span lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: Times; mso-bidi-font-size: 16.0pt;">, 1950, Ren</span>é
Magritte 6. Portrait of Ed Ruscha found <a href="http://stoppingoffplace.blogspot.co.uk/2012/04/pepto-tablets-and-boxers-tape.html" target="_blank"><span class="Apple-style-span" style="color: #ea9999;">here</span></a><span class="Apple-style-span" style="color: #ea9999;"> </span>7. <i style="mso-bidi-font-style: normal;">Optics</i>, 1967, Ed Ruscha</div>
<div style="text-align: center;">
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