Collection: part 1

Research 1

RESEARCH PAGE SOURCES

All research is linked to the source (if found online) by clicking on the images. 

Details

29.10.17 - Rothko manifesto with Adolph and Barnett Newman response

I think this "Rothko room" in the Tate modern reflects a few of Rothkos points in his manifesto. Firstly the obvious aspect of the large scale of the paintings that he aims for a large impact of the unknown. As well as this there is also the effect of only having simple expression in its work. By using only one colour he is able to evoke, in the most theoretically simple way, feeling through just one colour. This is uncomplex and effective. 

He also says that "there is no such thing as a good painting about nothing". This shows that even if a painting is supposed to be nothing or represent nothing it is representing something just in its form. This is interesting as his paintings are very simple and almost just colours however they are chosen carefully and evoke an emotion and therefore are about something. 

Details

29.10.17 - Rothko manifesto with Adolph Gottlieb and Barnett Newman response

Details

29.10.17 - Rothko manifesto with Adolph Gottlieb and Barnett Newman

https://www.nga.gov/features/mark-rothko-introduction/mark-rothko-early-years.html

http://homepages.neiu.edu/~wbsieger/Art201/201Read/201-Rothko.pdf

1. To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.

2. This world of the imagination is fancy-free and violently opposed to common sense.

3. It is our functions as artists to make the spectator see the world our way—not his way.

4. We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.

5. It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing. We assert that the subject is crucial and only that subject matter is valid which is tragic and timeless. That is why we profess spiritual kinship with primitive and archaic art.

Details

28.10.17 - Bauhaus Manifesto - Walter Gropius

Bauhaus Manifesto (April 1919)

'The ultimate goal of all art is the building! The ornamentation of the building was once the main purpose of the visual arts, and they were considered indispensable parts of the great building. Today, they exist in complacent isolation, from which they can only be salvaged by the purposeful and cooperative endeavours of all artisans. Architects, painters and sculptors must learn a new way of seeing and understanding the composite character of the building, both as a totality and in terms of its parts. Their work will then re-imbue itself with the spirit of architecture, which it lost in salon art.

The art schools of old were incapable of producing this unity – and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive 'artist' will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.

Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as 'art by profession'. There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the work of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design.

So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come.'

Walter Gropius

 

https://www.bauhaus100.de/en/past/works/education/manifest-und-programm-des-staatlichen-bauhauses/

Details

28.10.17 - MANIFESTO - Bruce Mao manifesto

Details

28.10.17 - white space - Rachel Whiteread - Untitled (Pink Torso) 1995

http://www.tate.org.uk/whats-on/tate-britain/exhibition/rachel-whiteread

 

I think the concept that Whiteread plays with is very interesting by using dental plaster to recreate the negative space of objects. It is almost like showing the "white space" or the breathing space" that isn't a physical form. By her creating these pieces we are almost able to see the 'nothingness' and the pause that the negative space gives us in daily life. 

Details

28.17.10 - white space - Rachel Whiteread - Untitled (Pink Torso) 1995

Details

28.10.17 - white space - Alicja Dobrucka: I Like You I Like You A Lot, Kali Books bg. 2008

This Photography book is a very obvious but effective example of how white space is used in the creating works and wishing books and layout, to display photography. This method is used often with many Photography books to be able to view the images in themselves and create an atmosphere as if you have a gallery in your hands. The white space around the photography draws you to the images and lets them stand alone. 

 

https://www.itsnicethat.com/articles/alicja-dobrucka-i-like-you-i-like-you-a-lot-kali-books-photography-publication-271017

Details

28.10.17 - white space - Anthony McCall - Line Describing a Cone - 1973

http://www.tate.org.uk/art/artworks/mccall-line-describing-a-cone-t12031

I enjoy how this piece is is unconventionally white space. The light creates a physical yet intangible white space within a physical space. This is interesting to me because even though it is something you're able to experience as a 3D form it is only light that creates a focus on a shape. 

This is able to show with light how using white space can attract you to the particular subject with the contrast of the dark surrounding. This is often used in reverse within books and magazines to draw you eye to an image. 

I also appreciate how this piece symbolises the fact that white space is often given a form of a shape as This is the only way it can be in the world as it has often no symbolism. no meaning, no composition and no embellishment. 

Details

28.10.17 - white space - Anthony McCall - Line Describing a Cone - 1973

Details

28.10.17 - WHITE SPACE - 'Ledger' , Robert Ryman, 1982

"This is one of about nine paintings from the same period and is painted in a pigmented shellac laid over glass re-inforced plastic. The strips of aluminium which are part of the work act as brackets to attach it to the wall. Ryman pays great attention to the marks of the paintbrush and uses white because he regards it as less emotionally charged than other colours. His works are about surface, texture, grain and luminosity rather than spatial composition.

Gallery label, October 2016, TATE Modern "

http://www.tate.org.uk/art/artworks/ryman-ledger-t03550

 

I like the idea that Ledger is playing on white being as an unemotional colour. The fact he gives a space not to think what to put on the white canvas but by using white on the white canvas itself I find really interesting because he is finding a space for no emotion and to create a painting that doesn't suggest or evoke anything at all. I also like the fact that he has placed functionality as a part of his work and chosen the brackets to attach the piece to the wall - it shows that function is something to look at and appreciate in itself. 

Details

28.10.17 - WHITE SPACE - 'Ledger' , Robert Ryman, 1982

Details

23.10.17 - interaction -

Details

23.10.17 - interact

Details

23.10.17 - interact

https://www.youtube.com/watch?v=zGJtn2arIlA

This campaign is a campaign against sexual harassment on public transport. It is interesting that it shows how publicly it can happen and how even when the tube is busy no one can see it or speaks up about it. I think she is also scared to say anything to him incase he is dangerous or being trapped with him in a confined space or even if he denies it and no one believes it. 

Details

09.10.17 layout research - Vanessa Beecroft

This poster shows the concept of using a grid and creating an whole image from the three images in the grid spaces. This portrays how an image could look behind different gaps in the grid but also using several images to create a new one.

Details

09.10.17 layout research - Vanessa Beecroft

Details

09.10.17 layout research - Museum of Modern Art Oxford posters - Yoko Ono poster, 1997-98

I enjoy how this poster exports two ideas. 

1) that the poster is Half of image and half of block colour. I think this is interesting to divide it so boldly as I don't often see this. I think it makes the space of the poster you look at wider because the image seems more horizontal now. I think its a good use of the space not only aesthetically but practically because its bold but the important writing is clear and not lost over the image. 

2) I also enjoy how it has cropped the image. I works well to draw your attention to the 'horizon' which is the question being asked about. But generally I like the fact its cut off the whole scene. It makes you image whats underneath the crop but also makes you notice more things about the upper part of the image, which is useful when trying to show your interest with a particular subject in an image without singling it out in an unstylish way. 

Details

09.10.17 layout research - Museum of Modern Art Oxford posters - Yoko Ono poster, 1997-98

Details

09.10.17 layout research - Karl Nawrot. Drawing Templates (studies), 2007 — 2014

Details

08.10.17 layout research - Alan Clarke

Details

02.10.17 Print research - Ecce Homo, Ken Rookes. April 2017

In this print I find it interesting how the designer uses the white of the paper with the ink in lines coming from behind the figure to portray an almost holy lighter halo effect. Even though this is not the subject of the image without it there would be a huge visual gap that you have with the effect showing that there is a halo therefore the figure is holy in some way. 

For me this is interesting to create a contest within a scene. For example in images I have taken it is important to the composition to know if the light is on or off or for example if the television is on and if its in a dark place. Simple lines such as in 'Ecce Homo' is a really effective way to portray light and the direction it is going in. 

Details

02.10.17 Print research - Ecce Homo, Ken Rookes. April 2017

Details

01.10.17 print primary research

01.10.17 print primary research

01.10.17 print primary research

01.10.17 print primary research

25.09.17 moving image - MUDLARKING - art from the river blog (linked)

Details

19.09.17 TYPE - final 3D image - Juergen Teller for 'Daisy' by Marc Jacobs - Oct 2012

I liked the quality of the photograph that Teller has matched with this campaign image. It shows the softness of the meadows and reflecting the name of Marc Jacobs 'Daisy'. I also like how they chose to dress the models in white to support the softness. This approach could directly link to the work of my crisp, white and ribbon like 'A' form. I wanted to use this as inspiration of how portray the lightness of the form I had created. 

Details

19.09.17 TYPE - final 3D image - Juergen Teller for 'Daisy' by Marc Jacobs - Oct 2012

Details

19.09.17 TYPE

ribbon shelves

I have seen these often in my life in craft shops. This experience was useful to me as inspiration due to how the ribbons flow out of the shelves. This movement and shape was helpful for me to understand how my undulating legs of my letter 'A' would look as I suspended it.

Details

19.09.17 TYPE inspiration - ribbon shelves

Details

17.09.17 Type Project

Details

17.09.17 Type Project

'Penguin’s John Steinbeck reissues feature Walker Evans Polaroids from 1973'  - Creative Review - 14/09/2017

 

 

 "      The new covers adhere to the redesign of the Modern Classics series which has been rolled out this year. Art Director Jim Stoddart updated his own 2007 design with a new livery, as Henry Eliot Creative Editor of Penguin Classics explained in a detailed post on the publisher’s website: “The back covers, spines, Penguin roundel and cover text have all turned a pale blue-green, a shade known as ‘eau-de-nil’, ‘water of the Nile’,” he wrote.

“This colour is a reference to the series’ original palette and its brief blue-green incarnation as Twentieth-Century Classics.” Fifty titles were selected to relaunch Modern Classics in 2017, including seven of John Steinbeck’s novels.      "

 

 
Details

17.09.17 Type Project - mattias sahlén , elevator

Details

13.09.17 secondary research - Mood - The Chapel Rothko

Rothko - The Chapel Inspiration to enhance the mood in the room using materials/colours and the shape of the room Our room would be square, creating a closed off feel to it. It would also be made out of concrete - as seen in the viualisation - creating a cold and unwelcoming mood

Details

13.09.17 secondary research - Mood - The Chapel Rothko

Details

13.09.17 secondary research - sculpture - L.O.V.E - Maurizio Cattelan

L.O.V.E - Maurizio Cattelan This piece incorporates alot of the elements of what we wanted to include in our own installation. First the material of the sculpture is concrete and it is very realistic. Secondly the peice seems to be very pessimistic considering it is called “L.O.V.E”. It is also in a very public place which may be condemmed, even though it is an artwork, as it could be uncomfortable to let something vulgar to be so public.

Details

13.09.17 secondary research - sculpture - The Sum of All Evil - Jake & Dinos Chapman

Details

secondry research introduction 13.09.17

With our concept of a pessimistic installation with modern weapon sculptures we looked for secondary research in three different areas; Modern, realistic and if possible dark or pessimistic sculptors; ways that artists have controlled the mood of a room and what weaponry would we create sculptures of that was fitting with our theme. 

Details

31.10.17 - Kazimir Malevich Black Square 1913

"Black Square" is another of Malevich's Paintings which although unlinked very much reminds me of his 'White on White'. It is almost as if Malevich has done a series of monotone square paintings or created collection. Although each are different you are able to tell they are from the same movement and artist as a collection.

Details

31.10.17 - Kazimir Malevich Black Square 1913

Details

29.10.17 - Concrete art manifesto responses - Zurich Concert Hall poster by Josef Müller-Brockmann, 1955

Swiss Graphic Design,The Origins and Growth of an International Style - 1920-1965 by Richard Hollis 

 

The concept of the geometrical design of concrete art has informed many graphic designers such as this poster by Muller-Brockmann which looks like a concrete painting with text over it. 

Details

29.10.17 - Concrete art manifesto responses - Zurich Concert Hall poster by Josef Müller-Brockmann, 1955

Details

28.10.17 - Concrete art manifesto

" The term was introduced by artist Theo van Doesburg in his 1930 Manifesto of Concrete Art. The manifesto was published in the first and only issue of the magazine Art Concret. He stated that there was nothing more concrete or more real than a line, a colour, or a plane (a flat area of colour).

The Swiss artist Max Bill later became the flag bearer for concrete art organising the first international exhibition in Basle in 1944. He stated that the aim of concrete art is to create ‘in a visible and tangible form things which did not previously exist – to represent abstract thoughts in a sensuous and tangible form’. "

http://www.tate.org.uk/art/art-terms/c/concrete-art

 

The Manifesto and English translation:

https://monoskop.org/images/9/91/Concrete_Art_Manifesto_1930.pdf

 

BASIS OF CONCRETE PAINTING

We say:

  1. Art is universal.

  2. A work of art must be entirely conceived and shaped by the mind before its execution. It shall not receive anything of nature’s or sensuality’s or sentimentality’s formal data. We want to exclude lyricism, drama, symbolism, and so on.

  3. The painting must be entirely built up with purely plastic elements, namely sur- faces and colors. A pictorial element does not have any meaning beyond “itself”;

    as a consequence, a painting does not have any meaning other than “itself”.

  4. The construction of a painting, as well as that of its elements, must be simple and

    visually controllable.

  5. The painting technique must be mechanic, i.e., exact, anti-impressionistic.

  6. An effort toward absolute clarity is mandatory.

    Carlsund, Doesbourg, He ́lion, Tutundjian and Wantz.

Details

28.09.17 - White space research - Christo - Wrapped Reichstag - 1971-95

Details

28.10.17 - white space - Mauren Brodbeck - Urbanscapes

I enjoy how these images play on the aspect of shades of block colour and blocking out an object. This draws our eye to the shape of the building that in our daily lives may be seen as mundane or uninteresting. It also creates a break in the everyday scene and makes the building into a new space, the light makes the dreary interesting and warm. I like the way that the colours almost make me feel more homely towards things I might see everyday almost if they have a block-colour halo. 

Details

28.10.17 - white space - Mauren Brodbeck - Urbanscapes

Details

28.10.17 - Bruce Mau Design – Know Canada - April 2012

http://www.brucemaudesign.com/work/know-canada

This campaign shows how the 'white space might be more of a metaphorical term in the way that it may be a different colour but is able to create the same effect 'a white space' can. This particular campaign even though it represents the flag of Canada, the use of the red blocks essentially creates a focus on whats in-between them to represent whats 'within Canada'. 

This is a useful idea as this is unconventional as usually it is seen as the whit space is surrounding the picture to draw you eye to the whole image but in this case it creates a focus within a picture. 

 

Details

28.10.17 - Bruce Mau Design – Know Canada - April 2012

Details

28.10.17 - white space - Kasimir Malevich - Suprematist Composition: White on White - 1918

https://www.moma.org/collection/works/80385

I like how this piece and Malevich himself chooses to purposely not undertake one of the seen-to-be vital traditional components of a painting - colour. The fact that he is able to create a composition that has character with the imperfect square and the texture within the painting is exciting as I enjoy using one minimal colour in my work. The monotone aspect of the work creates a function without being over expressive. It is also aesthetically pleasing because of how minimal using only one colour can be as it almost creates no fuss and that to me is very calming and refreshing to look at. 

In white on white I also like the the aspect of a composition that is there in the form of the layout of the square. It is an interesting technique that the square is able to bee seen due to the off shade of white used for the background. It shows the versatile of the shade white. The layout of the square I also like because it is off centre and as the artist wanted to creates a sense of floating which I think is fitting to use in a white space which often to me condones "nothingness" or just a space in itself.

Details

28.10.17 - white space - Kasimir Malevich - Suprematist Composition: White on White - 1918

Details

23.10.17 - interaction - voo doo doll shape -- suggestion for graphic shape for still of interaction which already has connotations of a pinning action

Details

23.10.17 - interaction -

Details

23.10.17 - Interact

https://www.youtube.com/watch?v=35KqGNa1FGA

This video is a woman in normal clothes walking along the streets in the daytime of New York. As she walks along the streets she doesn't provoke anyone but she gets many comments and intruding acts happening to her such as people following right next to her for a long time. I think this is really interesting because these people are interacting with this activity unintentionally. The woman created this activity and didn't know people would definitely say anything but as it happens so often they did interact. 

Details

19.10.17 INTERACT - Troika - ‘Limits of a Known Territory’ NC-arte, Bogotá, CO 6 Jun. - 5 Sep. 2015 Curated by Claudia Segura

Details

09.10.17 layout research - Museum of Modern Art Oxford posters - Jan Dibbets poster, 1977

Details

09.10.17 Museum of Modern Art Oxford posters - Donald Judd poster, 1976

This poster shows very well how a grid can be formed and can easily stand alone as a subject of a layout. It reminded me very much of my own sketches of strip lights I had done in preparation to creating my own grid. It is simple using repetition of rectangles which I find very successful. This has made it uncomplicated and easy to look at. 

Details

09.10.17 Museum of Modern Art Oxford posters - Donald Judd poster, 1976

Details

08.10.17 layout research - Silvo , base, 2016

Details

02.10.17 Ken Rookes

The prints by Ken Rookes seen below show the different approaches I would like to be able to show different aspects of my composition in my print. For example In Ecce Homo The use of white space to show a light coming from behind the figure was a useful method to be able to adapt as my print has many light sources in it. It shows the direction of the light with the choice of line and its dispersing away from the figure. 

 

In Punting in the Park the different level of ink acts as shading. This would be useful for me as it very well shows the 3D aspects of the image which I would find useful to separate my Television from the plinth it sits on. 

Details

02.10.17 Print research - Punting in the park, Ken Rookes

Details

01.10.17 print primary research

01.10.17 print primary research

01.10.17 print primary research

01.10.17 print primary research

27.09.17 - moving image project

Sound Inspiration 

https://www.youtube.com/watch?v=kHbQr6Xsy8U

 

I chose to use this scene from 'The Godfather' as inspiration as I saw how it used sound amongst the image. The baptist scene is playing at first and then the image flips to gangsters preparing their guns and weapons to kill people. Even though the image changes the sound doesn't so as people are getting shot you can hear the priest talking and christening a child. I likes the idea of the sound staying the same as the images change and wanted to use this concept as it means there is a continuous flow throughout the film. I therefore used one long sound clip of a wave over my different image clips to show the continuity. 

Details

19.09.17 TYPE - final 3D image - Céline advert 'Câline' in Vogue, March 2012

Due to the lighting the effect I created in my photograph was still crisp and chic but more dark than the airy bright effect I first imagined. These Céline campaign images represent how it can still be flowing and chic with darker lighting effects. The shadows it creates are more sinister but personally more interesting to look at, probably because it is less obvious. 

Details

19.09.17 TYPE - final 3D image - Céline advert 'Câline' in Vogue, March 2012

Details

19.09.17 TYPE - final image of 3D outcome - Céline advert in Vogue, April 2017

Details

18.09.17 TYPE

Details

17.09.17 Type Project - Arndt Benedikt , ab 05

Details

17.09.17 type project - Tomasz Berezowski , mechanik

Details

17.09.17 Type project - Timm Knoerr , 8hvl balkenplakat1

Details

13.09.17 secondary research - sculpture - The Kiss . Rodin

The exhibition would be over time starting with 8 concrete blocks that over time an artist would sharpen and reveal weapons - like how Rodins sculptures reveal figures. The artist would also engrave why we had chosen this particular weapons into the concrete blocks - much like war memorials and tombestones

Details

13.09.17 secondary research - sculpture - The Kiss . Rodin

Details

13.09.17 secondary research - sculpture - The Raft of Lampedusa, Lanzarote, Spain. Jason deCaires Taylor

Details

11.09.17 primary research project 1

Looking from the environment around us we found primary research reflecting the words sharpen and stone. Often the stone element had grey or dark tones in the objects we found that were either mad of stone or looked like stone - for example the vinyl floor that looks like marble. 

 

 

Details

Comments


    Add comment