↑Top Model (Kolkata) Call Girls Behala ⟟ 8250192130 ⟟ High Class Call Girl In...
Covert overt operator 2011
1.
2.
3. Covert/Overt Operator
In Covert/Operator, students are asked to think of how a narrative is formed
through a comparison of parts.
In very simple terms, this comparison could be considered a version of
juxtaposition. Two parts which are activated by space come together conceptually
to make a third experience, association etc.
In addition to showing two parts and how they will inevitably create a dialog, I
want you to use your increased knowledge of space and imagine how the viewer
will interpret the “ordering” of your narrative system from far away. For now, lets
classify this ordering system the works “overt” information.
Then I want you to think of how the up close details of the relationship between
parts performs an “agency” to alter the viewers preconceived notions of what the
piece may be. Lets consider this the “covert” information the object alludes to.
For this project:
You are asked to interpret one part as a significantly altered object/
material.
The other part should be made entirely by your hands. It can be an
object, a print, a drawing, a performance. Whatever works for your
idea
.
Mary Sullivan and Boris CuratoloRasinesDrawing Now 03: Wood Meets Paper, first shown at the Pearl Street Gallery, in DUMBO, Brooklyn, NY and saw it as a kind of drawing in space - hence the invitation to present it as a drawing show that was held in the Drawing Center, Seoul Olympic Museum (SOMA).
Mary Sullivan and Boris CuratoloRasines at work
Marcel DuchampDuchamp picked up the object that became his first real readymade, the Bottle Rack (2), in the Bazar de l’Hôtel de Ville in 1914, because of what he described as “pure visual indifference”. His sister signed it a year later as if it had been wrought in an atelier, “based on Marcel Duchamp”. He left these objects behind in Paris, but it was on their account that he retrospectively coined the term “readymade” in 1915.Allan mcCollumAllan McCollum, Plaster Surrogates, 1982/84.
Gabriel Orozco
Gabriel Orozco. Working Tables, 2000-2005. 2005Unfired clay, straw, egg container, bottle caps, wire mesh screen, string, stones, shells, plaster, bark, polystyrene foam, painted wood elements, pizza dough, and other materials;Dimensions variable Purchase and gift of Anna Marie and Robert F. Shapiro and Donald B. Marron
KimsoojaTowards the Flower (installation)Used cloth, thread, wooden pole, used bedcover357 x 348 x 355 cmBorn 1957, Taegu, KoreaVisual ArtistMy work combines performance, video and installation addressing issues of the displaced self and others. I've been trying to bring together a conceptual, logical and structural investigation of performance through immobility that inverts the notion of the artist as the predominant actor. Refusing to draw a systematic play of contrasts into any sort of tension charged dialectical relationship, I instead try to achieve a delicate equilibrium that opposite poles are brought to the fore as a natural basis for harmony: inserting myself as both subject and object of the viewer's gaze, an individual and an abstraction, a specific woman and every woman, instrument and actress, motionless and purposeful, balancing between presence and absence, wishing that the fact of what the eye sees is a truism.Collection of the artist1992
KimsoojaDeductive Object (Bottari)Single bottari - red embroidered used bed clothes, and used clothes2007Photo by Simon VogelDeductive Object (Bottari cart)19th C. Baguette Cart (France), 8 bottaris - used bed clothes and used clothes, bungee cords106cm high x 100cm wide x 63cm deep2007
A Needle Woman, 2005Stills from Patan (Nepal), Jerusalem (Israel), Sana’ (Yemen), Havana (Cuba), Rio de Janero (Brazil), N’Djamena (Chad) 6 channel video installation, silent, 10:30 loop.
Marcel Duchamp’s enigmatic assemblage Étantdonnés: 1. La chute d’eau, 2. Le gazd’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas)Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio. It is composed of an old wooden door, bricks, velvet, twigs, a female form made of pig skin, glass, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. Sculptor Maria Martins, Duchamp's girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure's arm.[1] Duchamp prepared a "Manual of Instructions" in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.
Nacho CarbonellTree Chair“I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour. I want to create objects with my hands, then I can give them my personality. I turn them into communicative objects that can arouse one’s sensations and imagination. In short, what I want to create are objects with a fictional or fantasy element, that allow you to escape everyday life.” -Nacho Carbonell-
In the “Diversity” series, Carbonell takes twenty iterations of the same form – aslender-legged chair attached to a narrow, covered desk – and creates distinct finishes for each with the result suggesting a demographically diverse neighborhood. One is coated in “hair filaments” that can be combed and groomed; another in shards of broken glass from used wine bottles; another in a granular concrete coating and many more.
The ChokwePwo African art mask is a female mask. When masqueraded, the performance which is for entertainment, a comedy of manners or social satire, is very popular and is open to every one. In present times, it is mostly masqueraded at Christmas celebrations, political rallies or workshops on rural development run by NGOs.The ChokwePwo mask can represent (in caricature form) only women in general, but it can also secretly represent a loved one, or be the source of a firm bond between a pwo mask owner and one of his ancestors.A lot of care is taken in the pwo African masks presentation, the accessories and adornement can give hints to the fashion and period in which the mask was crafted. The oldest pwo masks have always had beautiful scarification marks and teeth filed to point, which at one time was a sign of beauty. Earrings are further adorned with coins, inported beads, ribbons and little zinc tokens that served as tax receipts in colonial times.Passort masks are miniature masks with all the same attributes as the larger dance masks, but were kept on alters of members from the Pwo society.
Recent fieldwork focusing on the role of masquerades in Zambia (Cameron 1995; Jordan 1993, 1996) provides an alternative view, documenting how akishi (makishi in Zambia) masquerades represent aspects of the shared cosmologies of Chokwe, Lunda, Lwena/Luvale, and related peoples. Within a large repertoire of mask character types, Pwo (Pwevo in Zambia)—the "woman" or female ancestor—and MwanaPwo (MwanaPwevo in Zambia; Fig. 11)—"the young woman"—actually perform a crucial role in transmitting culturally relevant information, mainly in the context of the mukanda male initiation. The "woman" and "young woman" masks represent ideal and comparable models for a "fulfilled" versus a "potential" woman (Cameron 1998a, 1998b; Jordan 1998). Such associative elements are further developed by these peoples' creation of other female mask types, including an "immature woman," a mother, an old woman (Fig. 12), and a female chief (Jordan 1998; Felix & Jordan 1998).
Nick CaveSoundsuit 2009Cave will present a group of ‘Soundsuits.’ This sculptural form based on the scale of the artist’s body is at the core of Cave’s practice. It camouflages the body, masking and creating a second skin that conceals race, gender, and class, forcing the viewer to look without judgment. However, Ever-After marks a noticeable shift in his approach. The ‘Soundsuits’ will interact within subtly narrative tableaux. These figurative landscapes connect the viewer to a social consciousness, summoning the echoes and voices which Cave believes have been paralyzed to silence and subjected to unfair altercations in an often hostile society.
Young-DeokSeoBFA in environmental sculpture from University of Seoul, South Korea, in 2010.
Born in 1955 in Somerville New Jersey, Willie Cole transforms everyday items into sculptures “melding the social, political, and cultural perspectives of urban African American experience.
Sarah lucas
Sarah Lucas, Nature Abhors A Vacuum, 1998.Instead of portraying the feminine in terms of beauty, like Cindy Sherman before her, Lucas pursues a less than flattering autobiographical account of existence that includes, amongst other things, references to: the greasy English breakfast, toilets, garden gnomes, no frills supermarket tights, and cigarette addiction (it must be the weather). With regard to the latter in a conversation with James Putnam Lucas reported: ‘I first started smoking when I was nine. And I first started trying to make something out of cigarettes because I like to use relevant kind of materials. I’ve got these cigarettes around so why not use them. There is this obsessive activity of me sticking all these cigarettes on the sculptures, and obsessive activity could be viewed as a form of masturbation. It is a form of sex, it does come from the same sort of drive, and there’s so much satisfaction in it. When you make something completely covered in cigarettes and see it as solid it looks incredibly busy and it’s a bit like sperm or genes under the microscope.’ (Putnam, 2000)If one wants to play with labels—and in context of post-modern art an interweaving of established discourses is widespread—then one might refer to Lucas’ work as pop expressionism. It is easy to understand, refers to popular culture (principally to British tabloid culture) and plays the crucial game of transposing high and low cultural references. Indeed Lucas’ work is at its best when she is dredging the depths of tabloid sexism while simultaneously making high art references. This in a nutshell is the rhetorical mechanism used by Lucas and it is evident in a number of successful works.
StickpileAllison SmithStockpile is a large structure comprised of objects and materials suggesting early-American colonial craft reenactment and reproduction.Aside from the question of how these objects are to be performed and by whom, this work also asks "Who made this?" Many of the items embedded in the piece were in fact made in Thailand, Malaysia, Vietnam, India, Brazil, and China, bringing these colonial reproductions full circle from their historical referent to current issues of American mass consumption and outsourced labor, a form of colonialism reenacted in the present.
Fancy Work (Braided Rug)2011participatory braided rug, platform for reading, reflection, and conversation12'+ diam
Haim Steinbach
Chris BurdenMedussas head
Tara Donavancups
RivaneNeuenschwander’s I wish your wish
“I Wish Your Wish,” first presented in 2003 — is derived from a tradition popular among pilgrims to the Church of NossoSenhor do Bonfim in Bahia, who bind ribbons to their wrists or the church’s front gate in the belief that when the ribbons fall off or disintegrate, their wishes will be granted. In Ms. Neuenschwander’s conceptual-art variation, which will be displayed at the rear of the New Museum’s lobby, colorful silk ribbons have each been stamped with one of 60 wishes left by previous viewers of the piece. The show’s visitors can take a ribbon from one of 10,296 small holes in the wall in exchange for scribbling a new wish on a slip of paper and inserting it into the hole.
Carsten Holler's "Solandra Greenhouse" (shown) is what it sounds like -- a glass house loaded with plants. The piece, by the Belgian-born artist who is also a biologist is sited in a sunny hallway and replete with Solandra maxima vines that throw off "pheromones capable of inducing amorous feelings." There are also green flashing strobe lights and grow lights and Holler who lives Sweden is obsessed with human emotion and human interaction. As the plants grow and emit more pheromones it might be possible to get a whiff and fall in love with someone or something with you in the space.
