The document discusses several artworks that engage the sense of touch beyond typical visual art experiences. It describes works by Valie Export, Lygia Clark, Rebecca Horn, and Erwin Wurm that incorporate elements meant to be worn, handled, or interacted with by the viewer. These artworks aim to bring the viewer into a more active, sensory participation with the work beyond just visual observation. They explore how perception and interaction can be altered through tactile extensions or constraints on the body.
History of Animations - digitalmarketinghead@gmail.comSaurabh Verma
This Presentation is all about the history of animation. All the references are from reliable sources over internet on animations. The topics described are:
Early approaches to motion in art
Animation Before Film
The magic lantern
Thaumatrope
Phenakistoscope
Zoetrope
Flip book
Praxinoscope
The Silent Era
Theater Optique
The Kinetoscope
The Golden Age of Animation
Walt Disney
Alice Comedies
World War II era
Post-war period
The Television Era
Animation Techniques
Go motion
and more ...
This document outlines several potential themes and concepts for a photography project on discovery. It discusses ideas for depicting self-discovery through conflicting personalities, the discovery of space through alien or astronomical photography, interpretations of the afterlife through angels/demons, and discovering lost items from their perspective. It proposes a series on discovering new places through dream-like composite landscapes featuring hazy filters and unusual textures. The proposal is to create three psychedelic dreamscape images merging landscapes and human forms to depict discovering the human subconscious through imaginary dream environments.
SURREALISM, MYTH, AND PSYCHOANALYSIS (part1)jigers19
Surrealism valued difference and the unconscious. It explored sexuality, desire, and the feminine through the metaphorical and the unexpected in artworks. Surrealist works by Miro, Dali, Masson and others used automatic techniques to reveal dreams and subconscious imagery. Surrealists were inspired by Freudian psychoanalysis and sought to critique social repression by exposing desires and fantasies. Women were seen as closer to the unconscious. Breton's book Nadja explored chance encounters and aimless wandering in Paris as a way to access the unconscious.
SURREALISM, MYTH, AND PSYCHOANALYSIS (part2)jigers19
1. The document discusses key ideas and techniques in Surrealist art from the 1920s-1930s such as estrangement, dream narratives, frottage, and the uncanny. It explores how artists like Ernst, Dali, and Bellmer used these to create strange, disturbing, and thought-provoking works.
2. There was a division in 1929 between Breton and Bataille over Bataille's interest in "baseness," decay, and formlessness while Breton focused on surrealism's revolutionary principles.
3. The document also examines the role of psychic disorders like hysteria in surrealist aesthetics and Brassai's photographs of found objects in Paris.
Rancière's (2007) The Future of the ImagePhung Thanh
Rancière analyzes the changing nature of images and their relationship to art. He argues that images should be understood not based on their technical medium but as "operations" that establish relationships between visibility and signification. Rancière also redirects Barthes' notion of the punctum by linking it to the broader aesthetic regime that defines art through the interplay between material presence and encoded meaning. Ultimately, Rancière sees artistic images as existing in a dynamic relationship with social imagery and criticism, with blurred boundaries between different domains.
Digital Portraitmanipulation explores digital photomanipulation capabilities for portraiture. The document discusses manipulating photos through techniques like airbrushing, compositing, and surreal manipulations. Several artists who experiment with manipulation, like Christoffer Relander and Jamie Ibarra, provide inspiration. The author plans to experiment with both technical and creative retouches to test manipulation's limits and potential future developments.
The document discusses different types and uses of abstraction in art. It provides examples of abstract works from Chinese literati painters, Kandinsky, Albers, and Pollock. It explores abstraction as a way to express emotion or spirituality, emphasize form over representation, and capture an artistic process like Pollock's action painting.
This document discusses various techniques artists use to suggest motion in static works of art. It describes 7 techniques: 1) repeating figures to imply a narrative over time, 2) cropping figures to seem they are escaping the frame, 3) using blurred outlines and fast shapes to depict speed, 4) overlaying multiple images of the same figure in slightly different poses, 5) using curved lines to show movement pathways, 6) grouping multiple images to create an impression of motion, and 7) exploiting optical effects like afterimages and eye tracking with undulating lines. Examples are provided to illustrate each technique.
History of Animations - digitalmarketinghead@gmail.comSaurabh Verma
This Presentation is all about the history of animation. All the references are from reliable sources over internet on animations. The topics described are:
Early approaches to motion in art
Animation Before Film
The magic lantern
Thaumatrope
Phenakistoscope
Zoetrope
Flip book
Praxinoscope
The Silent Era
Theater Optique
The Kinetoscope
The Golden Age of Animation
Walt Disney
Alice Comedies
World War II era
Post-war period
The Television Era
Animation Techniques
Go motion
and more ...
This document outlines several potential themes and concepts for a photography project on discovery. It discusses ideas for depicting self-discovery through conflicting personalities, the discovery of space through alien or astronomical photography, interpretations of the afterlife through angels/demons, and discovering lost items from their perspective. It proposes a series on discovering new places through dream-like composite landscapes featuring hazy filters and unusual textures. The proposal is to create three psychedelic dreamscape images merging landscapes and human forms to depict discovering the human subconscious through imaginary dream environments.
SURREALISM, MYTH, AND PSYCHOANALYSIS (part1)jigers19
Surrealism valued difference and the unconscious. It explored sexuality, desire, and the feminine through the metaphorical and the unexpected in artworks. Surrealist works by Miro, Dali, Masson and others used automatic techniques to reveal dreams and subconscious imagery. Surrealists were inspired by Freudian psychoanalysis and sought to critique social repression by exposing desires and fantasies. Women were seen as closer to the unconscious. Breton's book Nadja explored chance encounters and aimless wandering in Paris as a way to access the unconscious.
SURREALISM, MYTH, AND PSYCHOANALYSIS (part2)jigers19
1. The document discusses key ideas and techniques in Surrealist art from the 1920s-1930s such as estrangement, dream narratives, frottage, and the uncanny. It explores how artists like Ernst, Dali, and Bellmer used these to create strange, disturbing, and thought-provoking works.
2. There was a division in 1929 between Breton and Bataille over Bataille's interest in "baseness," decay, and formlessness while Breton focused on surrealism's revolutionary principles.
3. The document also examines the role of psychic disorders like hysteria in surrealist aesthetics and Brassai's photographs of found objects in Paris.
Rancière's (2007) The Future of the ImagePhung Thanh
Rancière analyzes the changing nature of images and their relationship to art. He argues that images should be understood not based on their technical medium but as "operations" that establish relationships between visibility and signification. Rancière also redirects Barthes' notion of the punctum by linking it to the broader aesthetic regime that defines art through the interplay between material presence and encoded meaning. Ultimately, Rancière sees artistic images as existing in a dynamic relationship with social imagery and criticism, with blurred boundaries between different domains.
Digital Portraitmanipulation explores digital photomanipulation capabilities for portraiture. The document discusses manipulating photos through techniques like airbrushing, compositing, and surreal manipulations. Several artists who experiment with manipulation, like Christoffer Relander and Jamie Ibarra, provide inspiration. The author plans to experiment with both technical and creative retouches to test manipulation's limits and potential future developments.
The document discusses different types and uses of abstraction in art. It provides examples of abstract works from Chinese literati painters, Kandinsky, Albers, and Pollock. It explores abstraction as a way to express emotion or spirituality, emphasize form over representation, and capture an artistic process like Pollock's action painting.
This document discusses various techniques artists use to suggest motion in static works of art. It describes 7 techniques: 1) repeating figures to imply a narrative over time, 2) cropping figures to seem they are escaping the frame, 3) using blurred outlines and fast shapes to depict speed, 4) overlaying multiple images of the same figure in slightly different poses, 5) using curved lines to show movement pathways, 6) grouping multiple images to create an impression of motion, and 7) exploiting optical effects like afterimages and eye tracking with undulating lines. Examples are provided to illustrate each technique.
This document discusses several artworks that explore sensory experiences and incorporating the body into artworks. It describes Lygia Clark's 1967 "Sensorial Hoods" experiment which covered participants' senses to alter their perceptions. It also mentions Clark's experiments involving touch, including "Abyss-Masks" and "The I and the You." The document then discusses Helio Oiticica's "parangole" works from the 1960s that blurred boundaries and incorporated participants' bodies into the artworks. Rebecca Horn's works that extended the body are also referenced. Overall, the document examines experimental artworks from the 1960s-70s that aimed to engage multiple senses and integrate the body into the artistic experience.
Kate Nichols came to Djerassi to reimagine what painting can be through diverse historical practices of painters such as chemist, mirror-maker, and creator of skins. Her painting practice has incorporated nanoparticle synthesis, growing artificial skin from microorganisms, and preparing pigment from dead sea creatures. For the last six years, she has synthesized nanoparticles to create paintings mimicking structurally colored animal skins. Her next project considers creating pigment from the extinct Xerces blue butterfly as painting explores anxieties around biological engineering and highly technical artworks.
This document summarizes key ideas from John Dewey's work Art as Experience regarding how he defines art. Dewey proposes that art should not be viewed as static objects, but as dynamic experiences and interactions between viewers and objects. He argues we must understand art in its unrefined forms found in everyday life, like watching a fire or construction work, before analyzing refined art forms. Dewey believes separating art from lived experience creates barriers to understanding its significance. His view defines art as a process embedded in how people engage with and find enjoyment in their activities, rather than static objects removed from human experience.
The document provides an analysis of Steven Connor's essay "Ears Have Walls: On Hearing Art" which discusses how sound art brings the outside inside through its ability to spread and leak like odor. Connor reveals that one solution galleries used to contain different sound events within the space was to put up extra walls, creating "auditory membranes" to insulate the various sound works. The document also discusses how some sound installations risked being overwhelmed by others in the space and how boundaries traditionally separate soundworks.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
The document summarizes key artists, art movements, and concepts discussed in an art exam:
1) It discusses portraits by Lucian Freud and Francis Bacon, and the work of Gilbert and George.
2) It provides an overview of the Bauhaus art school and its approach combining art and industry.
3) It mentions the public artworks of Marc Quinn and Andy Goldsworthy and briefly describes their practices.
The document provides an overview of Marshall McLuhan's theories about media and technology. It defines medium as something that exists physically between us and what it depicts, and that each medium enhances certain human abilities while making other forms of experience obsolete. It discusses how McLuhan viewed all technology as media that extend human capabilities in transformative ways. Specifically, it examines how electricity has transformed human existence by decentralizing life and changing patterns of work and leisure through constant light and instant communication over vast areas.
A project of art education which took place in a nursery school (Micronido Dorè) in the town of Argenta (FERRARA):
Many researches point out how crucial is the “aesthetic dimension of children's experience” as well as education projects designed to make children experience new media to communicate their feelings and thoughts.
Viktor Shklovsky argues that habitual perception causes us to lose sight of objects and see them only as vague outlines. We recognize things based on their basic characteristics rather than truly seeing them (paragraphs I-III). This process reduces objects to symbols and shapes our thought in an "algebraic" way. John Dewey proposes reconnecting art with everyday experience. He argues that separating art from its origins and contexts erects a wall around it. Art should restore continuity between refined works and ordinary life to be fully understood. Understanding ancient art like the Parthenon requires imaginatively connecting with the people for whom it was originally created.
This document is a personal reflection by Inge Evers on her development working with feltmaking over 20 years. She explores how feltmaking provided an outlet for expressing feelings during her childhood that she was not allowed to express otherwise. As an adult, she discovered feltmaking had therapeutic qualities both for herself and for others. Through a process of self-reflection and focusing work, she gained new insights into feltmaking and its potential as an expressive art therapy tool and for building community. This led her to study expressive arts therapy and explore new applications of feltmaking both personally and in community art projects.
This document provides information about a course on identity, including contact details for the lecturer, class times, assessment details, and required readings and resources. Students are expected to submit their first assignment, an illustrated written piece on their identities, by March 15th. The document also shares examples of artworks addressing themes of self-portraits and identity, including works by Ema Tavola, Albrecht Dürer, Kazimir Malevich, and Frida Kahlo. Concepts around reflexive identity from sociologist Anthony Giddens are discussed.
This document discusses how the media product challenges and utilizes conventions of real media. It summarizes how the music video uses generic conventions such as locations contrasting nature and urban areas to represent freedom and reflection. It also draws from absurdist conventions like the idea that true art must be incomprehensible. The video references Victorian poetry and the impressionist movement through the use of montaged water clips. It aims to provide personal identity and diversion for the audience in line with uses and gratifications theory. The video challenges conventions like the voyeuristic representation of women in music videos.
An Anthropology Of Quot Self Quot Pondering On The Use Of The Self-Portr...Todd Turner
This document summarizes an art project by Leila Reinert titled "and if Duchamp knew of Clarice." The project involved using a pinhole camera to photograph nude bodies without technical apparatus or optical equipment. By eliminating the gaze and viewer, the photographs aimed to represent a world without "The Other." The light touches both the body and photosensitive paper directly, requiring stillness during exposure. The images reference Duchamp's nude female figure in "Étant donnés" but seek to eliminate desires and possible worlds by focusing only on the experience of seeing initiated by light between the photographed body and viewer.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
Here are some tips for your surrealism painting based on poetry:
- Focus on vivid, unusual images and objects from the poem that spark your imagination. Surrealism aims to blend reality and fantasy.
- Experiment with juxtaposing unrelated things in an unexpected, thought-provoking way. Surrealists often combined things that don't normally go together.
- Leave things open to interpretation. Surrealism explores the subconscious mind. Avoid being too literal and leave room for the viewer to make their own connections.
- Play with scale, perspective or proportions in an unsettling way. Surrealists distorted reality through techniques like this.
- Consider incorporating symbols or themes from dreams, the
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides instructions for an art exercise involving aggregating multiples of a simple, inexpensive object to create an unexpected form. Participants are asked to use as many multiples as possible, only adding glue, trying not to subtract anything, and exploring eccentric connections. It then lists examples of materials used by different artists, such as Styrofoam cups, pencils, toothpicks, spaghetti, cereal boxes, finger-nail clippings, Doritos, eggs, and socks.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
This document discusses several artworks that explore sensory experiences and incorporating the body into artworks. It describes Lygia Clark's 1967 "Sensorial Hoods" experiment which covered participants' senses to alter their perceptions. It also mentions Clark's experiments involving touch, including "Abyss-Masks" and "The I and the You." The document then discusses Helio Oiticica's "parangole" works from the 1960s that blurred boundaries and incorporated participants' bodies into the artworks. Rebecca Horn's works that extended the body are also referenced. Overall, the document examines experimental artworks from the 1960s-70s that aimed to engage multiple senses and integrate the body into the artistic experience.
Kate Nichols came to Djerassi to reimagine what painting can be through diverse historical practices of painters such as chemist, mirror-maker, and creator of skins. Her painting practice has incorporated nanoparticle synthesis, growing artificial skin from microorganisms, and preparing pigment from dead sea creatures. For the last six years, she has synthesized nanoparticles to create paintings mimicking structurally colored animal skins. Her next project considers creating pigment from the extinct Xerces blue butterfly as painting explores anxieties around biological engineering and highly technical artworks.
This document summarizes key ideas from John Dewey's work Art as Experience regarding how he defines art. Dewey proposes that art should not be viewed as static objects, but as dynamic experiences and interactions between viewers and objects. He argues we must understand art in its unrefined forms found in everyday life, like watching a fire or construction work, before analyzing refined art forms. Dewey believes separating art from lived experience creates barriers to understanding its significance. His view defines art as a process embedded in how people engage with and find enjoyment in their activities, rather than static objects removed from human experience.
The document provides an analysis of Steven Connor's essay "Ears Have Walls: On Hearing Art" which discusses how sound art brings the outside inside through its ability to spread and leak like odor. Connor reveals that one solution galleries used to contain different sound events within the space was to put up extra walls, creating "auditory membranes" to insulate the various sound works. The document also discusses how some sound installations risked being overwhelmed by others in the space and how boundaries traditionally separate soundworks.
The document discusses incorporating narrative elements into ceramic art. It explores various approaches to finding visual narratives, including seeing shapes in random textures. It discusses several 20th century art movements like Funk Art that focused on personal expression over social messages. Various ceramic artists like Rudy Autio and Joan Miro are cited that explored narrative and symbolic imagery in their work. The goal is to map narratives onto ceramic surfaces through techniques like glazing and projections to create diverse explorations.
The document summarizes key artists, art movements, and concepts discussed in an art exam:
1) It discusses portraits by Lucian Freud and Francis Bacon, and the work of Gilbert and George.
2) It provides an overview of the Bauhaus art school and its approach combining art and industry.
3) It mentions the public artworks of Marc Quinn and Andy Goldsworthy and briefly describes their practices.
The document provides an overview of Marshall McLuhan's theories about media and technology. It defines medium as something that exists physically between us and what it depicts, and that each medium enhances certain human abilities while making other forms of experience obsolete. It discusses how McLuhan viewed all technology as media that extend human capabilities in transformative ways. Specifically, it examines how electricity has transformed human existence by decentralizing life and changing patterns of work and leisure through constant light and instant communication over vast areas.
A project of art education which took place in a nursery school (Micronido Dorè) in the town of Argenta (FERRARA):
Many researches point out how crucial is the “aesthetic dimension of children's experience” as well as education projects designed to make children experience new media to communicate their feelings and thoughts.
Viktor Shklovsky argues that habitual perception causes us to lose sight of objects and see them only as vague outlines. We recognize things based on their basic characteristics rather than truly seeing them (paragraphs I-III). This process reduces objects to symbols and shapes our thought in an "algebraic" way. John Dewey proposes reconnecting art with everyday experience. He argues that separating art from its origins and contexts erects a wall around it. Art should restore continuity between refined works and ordinary life to be fully understood. Understanding ancient art like the Parthenon requires imaginatively connecting with the people for whom it was originally created.
This document is a personal reflection by Inge Evers on her development working with feltmaking over 20 years. She explores how feltmaking provided an outlet for expressing feelings during her childhood that she was not allowed to express otherwise. As an adult, she discovered feltmaking had therapeutic qualities both for herself and for others. Through a process of self-reflection and focusing work, she gained new insights into feltmaking and its potential as an expressive art therapy tool and for building community. This led her to study expressive arts therapy and explore new applications of feltmaking both personally and in community art projects.
This document provides information about a course on identity, including contact details for the lecturer, class times, assessment details, and required readings and resources. Students are expected to submit their first assignment, an illustrated written piece on their identities, by March 15th. The document also shares examples of artworks addressing themes of self-portraits and identity, including works by Ema Tavola, Albrecht Dürer, Kazimir Malevich, and Frida Kahlo. Concepts around reflexive identity from sociologist Anthony Giddens are discussed.
This document discusses how the media product challenges and utilizes conventions of real media. It summarizes how the music video uses generic conventions such as locations contrasting nature and urban areas to represent freedom and reflection. It also draws from absurdist conventions like the idea that true art must be incomprehensible. The video references Victorian poetry and the impressionist movement through the use of montaged water clips. It aims to provide personal identity and diversion for the audience in line with uses and gratifications theory. The video challenges conventions like the voyeuristic representation of women in music videos.
An Anthropology Of Quot Self Quot Pondering On The Use Of The Self-Portr...Todd Turner
This document summarizes an art project by Leila Reinert titled "and if Duchamp knew of Clarice." The project involved using a pinhole camera to photograph nude bodies without technical apparatus or optical equipment. By eliminating the gaze and viewer, the photographs aimed to represent a world without "The Other." The light touches both the body and photosensitive paper directly, requiring stillness during exposure. The images reference Duchamp's nude female figure in "Étant donnés" but seek to eliminate desires and possible worlds by focusing only on the experience of seeing initiated by light between the photographed body and viewer.
The document discusses the history and development of performance art from the 1960s onwards. It explores how performance art moved the body out of the frame and into physical space, challenging passive spectatorship and notions of disembodied viewing. Many early performance artists used the body to confront issues like gender, sexuality, and political power through provocative and sometimes shocking acts.
Here are some tips for your surrealism painting based on poetry:
- Focus on vivid, unusual images and objects from the poem that spark your imagination. Surrealism aims to blend reality and fantasy.
- Experiment with juxtaposing unrelated things in an unexpected, thought-provoking way. Surrealists often combined things that don't normally go together.
- Leave things open to interpretation. Surrealism explores the subconscious mind. Avoid being too literal and leave room for the viewer to make their own connections.
- Play with scale, perspective or proportions in an unsettling way. Surrealists distorted reality through techniques like this.
- Consider incorporating symbols or themes from dreams, the
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides instructions for an art exercise involving aggregating multiples of a simple, inexpensive object to create an unexpected form. Participants are asked to use as many multiples as possible, only adding glue, trying not to subtract anything, and exploring eccentric connections. It then lists examples of materials used by different artists, such as Styrofoam cups, pencils, toothpicks, spaghetti, cereal boxes, finger-nail clippings, Doritos, eggs, and socks.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against developing mental illness and improve symptoms for those who already suffer from conditions like anxiety and depression.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document lists various artists and their websites. It mentions David Altmejd and provides a link to a video segment about him on PBS. It also includes a link to a Vimeo video and lists several sculptors including Anthony Gormley, Thomas Houseago, Tau Lewis, and Simphiwe Ndzube. The document does not provide any additional context or information about the content of the links or artists.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise boosts blood flow, releases endorphins, and promotes changes in the brain which help enhance one's emotional well-being and mental clarity.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms for those who already suffer from conditions like depression and anxiety.
This document contains links to various contemporary artists such as Brian Jungen, Urs Fischer, Tom Friedman, Dennis Oppenheim, and Tau Lewis. It also includes links to artworks like Jean Tinguely's "Le Cyclope" sculpture, Helmick's "Disorders of Magnitude" and "Ghost Writer" portraits, and Tim Hawkinson's video piece "In Time". The document provides references to contemporary artworks and artists from the late 20th century to the present.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise boosts blood flow, releases endorphins, and promotes changes in the brain which help enhance one's emotional well-being and mental clarity.
This document appears to contain numbers and names without context. It does not provide enough information to generate a meaningful 3 sentence summary.
This document lists various artists and their websites. It mentions David Altmejd, a segment on his work from PBS, a Vimeo video, and several sculptors including Anthony Gormley, Thomas Houseago, Tau Lewis, and Simphiwe Ndzube. The document provides references to learn more about several modern artists and their work.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise boosts blood flow and levels of neurotransmitters and endorphins which elevate and stabilize mood.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document summarizes and discusses several kinetic artworks and artists. It describes Signature by Tim Hawkinson, an artwork that endlessly produces facsimiles of the artist's signature on paper. It also mentions the 1985 performance piece by Chris Burden called "Samson" that could theoretically destroy a building if enough visitors cause the mechanical system to expand. It provides descriptions of kinetic sculptures by Charles Jencks, Rebecca Horn, Allan Wexler, Theo Jansen, Arthur Ganson, and Céleste Boursier-Mougenot that incorporate mechanical elements and movement.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
➒➌➎➏➑➐➋➑➐➐ Dpboss Satta Matka Matka Guessing Kalyan Chart Indian Matka Satta ...
Bodyextend
1. "Early On I realized that the purely visual
experience of an artwork was somehow
insufficient. I wanted to go beyond the
purely optical and include tactical qualities
as well. My works aren't things one just
looks at, but things that the viewer is invited
to handle. There have been many theories
of art that try to break down the border
between art and the world, but I don't find
such attempts to be particularly meaningful.
Art remains art. I really see my work as quite
compatible with the l'art pour 'lart
philosophy. One may think that I try to bring
the art object out into the world since my
works sometimes appear to have a practical
function, but really it's the other way
around: things in the world can, under
certain special circumstances, enter the
realm of art. And, in fact, once they have
entered this realm they are art." ---Franz
West..."Adaptives
4. Valie Export
Tapp- und Tast-Kino (Tap and Touch Cinema) was performed in ten European cities in 1968-1971.[6][7] In this avowedly
revolutionary work, Valie Export wore a tiny "movie theater" around her naked upper body, so that her body could not be seen
but could be touched by anyone reaching through the curtained front of the "theater." She then went into the street and invited
men, women, and children to come and touch her. The media responded to Export's provocative work with panic and fear, one
newspaper aligning her to a witch. Export recalls, "There was a great campaign against me in Austria."[5]
5. Lygia Clark
Throughout her career Clark experimented with
hoods, tubes and plastic bags worn over the head.
In the Sensorial Hoods (1967) perception is altered
by eyepieces with small mirrors, ear coverings and
a small nose bag with aromatic seeds. The hoods
alienate the participants from the environment and
create a cocoon with new stimulants, where they
can rediscover their bodies and themselves.
Similarly, in Abyss Masks (1967) the face of the
participant is covered by a large air bag, weighed
down with a stone, where the sound of breathing
within the hood can reproduce the movement of air
within the body.
6.
7. lygia clark:1967: Sensorial Hoods- This experiment involved eye pieces,
ear covers, and a small bag that would be affixed over the participant's
nose. The participants would also have helmets with small mirrors
affixed to them. The purpose of this experiment was to utilize all of
the senses at one time. The outcome of this experiment might be that
a participant would use his senses in a way he would never have
thought possible.
Abyss-Masks- The participant's eyes were blindfolded and large bags
of air weighed down with stones could be touched giving off the
sensation of empty space from within the body.
The I and the You: Clothing/Body/Clothing- A man and a woman wear
hoods over their eyes and a full body suit and during this experiment,
each would come to understand their own gender by feeling through
their pockets
Antropofagia- One participant lies down while the rest sit around him
with blindfolds over their eyes and communicating with one another
solely by touch. These participants are eating fruit found inside the
pockets of the reposed participant's suit (which forms a stomach).
Baba Antropofágica (aka "Anthropophagical Dribble") - One participant
lies down and the standing participants hold small spools of thread in
their mouths and release the string until the reposed participant
would be completely immersed in the thread.
8. Helio Oiticica + “parangoles” Oiticica: , a series of strategies developed
by Helio Oiticica in the 1960s: the
transformation of the exhibition space
into a single Penetrable as seen in
Oiticica’s Tropicalia 1967; Eden 1969;
Nests 1969. In these works, Oiticica
collapsed the relation between high art
and no art, exhibition objects and
everyday objects, and transformed the
whole exhibition space into a total work
of art and a total experience. In having
the visitor wear masks and kaftans and
become part of the exhibition avaf also
integrates Oiticica’s strategy of the
Parangole: "My entire evolution, leading
up to the formulation of the Parangole,
aims at this magical incorporation of the
elements of the work as such, in the
whole life-experience of the spectator,
whom I now call participator” .
9. Rebecca Horn
The artist's 'body extension' pieces
very cleverly display internal
happenings on the outside of the
body.
10. Finger Gloves, 1972
Ideas of touch and sensory awareness are explored in this
work. Horn has described how wearing these gloves altered
her relationship with her surroundings, so that distant objects
came within her reach: ‘the finger gloves are light. I can move
them without any effort. Feel, touch, grasp anything, but
keeping a certain distance from the objects. The lever-action of
the lengthened fingers intensifies the various sense-data of the
hand; …I feel me touching, I see me grasping, I control the
distance between me and the objects.’ Implicit in the work is
the idea that touching makes possible an intimacy between our
own body and those of others.
Rebecca Horn
11. Pencil Mask, 1972
Strapped around the face, this mask transforms the wearer’s head into an instrument for drawing. Horn has
described wearing it: ‘All pencils are about two inches long and produce the profile of my face in three
dimensions…I move my body rhythmically from left to right in front of a white wall. The pencils make marks on
the wall the image of which corresponds to the rhythm of my movements.’ The spike-like pencils make this one
of Horn’s more threatening works. However, it is linked to the feather masks, as feather quills were also once
used for writing.
12. Horn has described how this mask
alters her interaction with others:
‘With the feathers I caress the face
of a person standing close to me.
The intimate space between us is
filled with tactile tension. My sight is
obstructed by the feathers. I can
only see the face of the other when
I turn my head looking with one eye
like a bird.’ Through her mimicry of
bird movements, Horn suggests the
use of plumage as a device for
communication and sexual display.
16. Since the late 1980s, he has developed an ongoing series of One Minute Sculptures, in which he poses himself or his models
in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of
sculpture.[5] He seeks to use the "shortest path" in creating a sculpture—a clear and fast, sometimes humorous, form of
expression. As the sculptures are fleeting and meant to be spontaneous and temporary, the images are only captured in photos
or on film.
To make a One Minute Sculpture, the viewer has to part with his habits. Wurm’s instructions for his audience are written by
hand in a cartoon-like style. Either Wurm himself or a volunteer follow the instructions for the sculpture, which is meant to put
the body in an absurd and ridiculous-looking relationship with everyday objects. Whoever chooses to do one of Wurm’s One
Minute Sculptures holds the pose for a minute, or the time it takes to capture the scene photographically. These positions are
often difficult to hold; although a minute is very short, a minute for a One Minute Sculpture can feel like an eternity.
Erwin Wurm
17. In this first evolution edition there is
three different pieces. The first is “one
man chair”, which incites personal
thinking. “The bench” represents the
crowds of the daily life and its attached
cocoon is a door to escape from it. The
third chair is called “The lovers chair” and
it pretends to confront the two sides of
behaving: private and public. It explores
different ways of communication, it
becomes a connecting tunnel.
Designer Nacho Carbonell
18. Mood Elevation Apparati
- - - - - - - - - - -
An edition in the ongoing series METHODS & APPARATI for Social Facilitation and Mood Elevation
Published in UNTITLED 003
- - - - - - - - - - -
:: FULL SPECTRUM OPTICAL INVIGORATION UNIT
:: PSEUDO SMILE GUIDES
:: COOLING INHALATION AID (aka Fridgi-Poofs) Keetra Dean Dixon
19.
20. Distorting the seam between home comfort and urban exposure, SHAREWEAR creates an
in-between place amid private and shared space. The work comprises of a pair of
reconfigurable, electronic dresses that physically slot together to activate atmospheric pools
of light. Unleashing potential for intimate chance discoveries, they are worn as part of a
performance, inviting both wearer and audience to, get close, lean on one another, morph
space, manipulate light and cast long shadows. SHAREWEAR is an investigative fashion
and technology collaboration involving Di Mainstone and V2_, Institute for the Unstable
Media.
http://sharewear.projects.v2.nl/index.html
21. Talk to Yourself Hat
The Talk to Yourself Hat considers the act of
conversing with oneself. When speaking
through a mouthpiece suspended in front of the
face, the voice is channeled back into the ears.
It allows the wearer to speak out loud while still
retaining the right to a somewhat private
conversation. Kate Hartman
22. The Muttering Hat is an exploration of what it would be like to extricate the noise of the thought process and
put it into physical form. A pair of muttering balls are tethered to the hat. They may be stuck to the ears, so
that all other noise is obstructed by the mutterings, or they may be detached, providing the opportunity to
escape from the mutterings or to share them with a friend. Kate Hartman
23. I sometimes use my touchphone in the bath. I know it’s stupid. One problem I encounter is that when put my
left hand in the water without thinking, it gets wet and unusable for touchscreen navigation. It is too risky to
try to hold and navigate with one hand. I found that I could use my nose to scroll but I couldn’t see where my
nose was touching precisely. It was at that point that I came up with this idea of a nose extension ‘finger’ that
would allow navigation while my phone is firmly held by one hand. Dominic Wilcox
25. Aluminum, wood, leather, galvanic skin
response (GSR) sensor, smoke grenade,
switch, and glass tube
13 3/4 x 7 7/8 x 5 1/2" (35 x 20 x 14 cm)
The suppression of feelings in the workplace in
the hope of greater professional success,
notes designer Jonas Loh, has led to unusually
high rates of employee suicide; a particularly
troubling statistic comes from France Télécom,
where 23 employees ended their lives over the
span of 18 months in 2008 and 2009. To
counteract this stifling and dangerous social
conundrum, Loh created the Amæ Apparatus,
which makes a person’s feelings explicit. Loh
calls it an early-warning system for stressed-
out people, soliciting sympathy and allowing
assistance to be provided in a timely manner.
Amæ, whose name comes from a subtle
Japanese concept describing the desire for
attention and care from a person of authority,
is worn like a backpack and interprets the
wearer’s stress levels through a skin sensor;
color-coded smoke erupts from a spout in a
canister to alert coworkers to various
emotional states.
39. • Defensive Body Extension/Gear:
• An EXTENSION of your body that promotes a
social interaction AND/ OR awareness
• Required:
• Worn on the body
• Meticulous craft (functions as a sculpture as
well as a wearable)