1. April 2010
24. Februar 2010
4. Februar 2010
3. Februar 2010
Sigmar Polke
24. Januar 2010
Moholy vision in motion
Eastman-Kodak, 1945
Test diagrams of a series of lens elements
IN THIS INSPECTION, RAYS FROM A PINPOINT OF LIGHT, ABOUT 200 FEET AWAY, PASS THROUGH THE LENS ON THE INSPECTION BENCH. EXAMINED THROUGH A POWERFUL MICROSCOPE, THEY APPEAR AS A STAR. IF A LENS FAILS TO BRING THE LIGHT RAYS INTO GOOD FOCUS AT ALL POINTS, THE STAR LACKS SYMMETRY AND DEFINTION. HERE AN EXAMPLE OF A "GOOD" STAR (on the right) AND A "BAD" STAR (left-hand side).
SUCH, AND MANY OTHER, SCIENTIFIC EXPERIMENTS WILL HAVE A BEARING UPON THE FUTURE DICTONARY OF THE COLOUR PHOTOGRAPHER.
OBJECT 3 Final piece
OBJECT 3 WAS ABOUT CREATING A NARRITIVE IN A SEQUENCE OF 5 IMAGES. IT SHOULD SOMEHOW RELATE TO THE CHAIR WE CHOOSED IN OBJECT 1. I TRIED TO COMBINE THE FUNCTIONAL SIMPLICTY OF THE CHAIR WITH A TRIANGLE LOVE STORY. MY INTENTION WAS TO CREATE THE SEQUENCE IN THE AESTHETIC OF THE CHAIR B3. MARCEL BREUER SPOKE OF THE CHAIR AS "my most extreme work . . . the least artistic, the most logical, the least 'cozy' and the most mechanical." I TRIED TO CONSIDER ALL OF THESE ASPECTS WHEN I WAS MAKING THE IMAGES FOR THE FINAL PIECE. THE BAUHASU THEATER WAS OBVIOUSLY A INSPIRATION SOURCE AS WELL.
17. Januar 2010
Das Bauhaus Theater
man and art figure
IT DEPENDS AS WELL UPON THE INNER TRANSFORMATION OF THE SPECTATOR - MAN AS ALPHA AND OMEGA OF EVERY ARTISTIC CREATION WHICH, EVEN IN ITS REALIZATION, IS DOOMED TO REMAIN UTOPIA SO LONG AS IT DOES NOT FIND INTELLECTUAL AND SPIRITUAL RECEPTIVITY AND RESPONSE.
OSKAR SCHLEMMER
16. Januar 2010
THESE ARE TWO FROM A COUPLE OF RESEARCH DRAWINGS FOR OBJECT 3. INSPIRED BY OSKAR SCHLEMMERS COSTUMES AS WELL AS KURT SCHMIDTS FIGUREN FÜR DAS MECHANISCHE BALLET, I PLAYED AROUND WITH GEOMETRIC FORMS IN ORDER TO CREATE CHARACTERS. AT THIS POINT I WAS ALREADY THINKING ABOUT CREATING A PLAY FOR THE FINAL PIECE, BUT I WASNT SURE HOW TO BRING THIS IDEA IN A CLEARER RELATIONSHIP WITH THE CHAIR-
Oskar Schlemmer
THE TRIADIC BALLET
ONE OF OSCAR SCHLEMMERS COSTUMES FOR THE TRIADIC BALLET
THE COSTUMES ARE PARTLY OF PADDED CLOTH AND PARTLY OF STIFF PAPIER-MACHE FORMS, COATED WITH METALLIC OR COLORED PAINT. I ESPECIALLY LIKE THE MASK OF THIS COSTUME
TO SEE THE tRIADIC BALLET CLICK #
MOHOLY NAGY
Typographic Signs. 1924
I REALLY LIKE THE COMPOSITION OF THIS ONE,
IT MAKES ME WANT TO PLAY AROUND MORE WITH DIFFRENT SCALES WITHIN ONE IMAGE.
THESE TYPOGRAPHIC SIGNS WERE PUBLISHED IN THE PERIODICAL MA/HEUTE (FIRST APPEARED NOVEMBER 1916), A JOURNAL, FOUNDED BY THE ARTIST AND WRITER LAJOS KASSÁ. THE MA JOURNAL REFERS TO THE MOVEMENT HUNGARIAN ACTIVISM AS WELL AS THE MA GROUP (HUNGARIAN GROUP OF ARTIST AND WRITERS, ACTIVE c.1916 TO 1926).
OBJECT 2
IN THESE DRAWINGS I EXPERIMENTED WITH THE SINGLE SHAPES OF THE CHAIR (THE CANVAS SEAT, BACK AND ARMS) AND THE ORIGIN OF MARCEL BREUERS INNOVATION, THE BICYCLE.
HE REASONED THAT IF THE TUBULAR STEEL COULD BE BENT INTO HANDLEBARS, IT COULD BE BENT INTO FURNITURE FORMS. THAT WAS PERHAPS THE SINGLE MOST IMPORATNT INNOVATION IN FURNITURE DESIGN IN THE TWENTIETH CENTURY.
11. Januar 2010
OBJECT /research
Marcel Breuer, Club armchair 1926
Lis Beyer or Ise Gropiuswith a stage mask by Oskar Schlemmer
photograph by Erich Consemueller
FOR THE OBJECT BRIEF WE HAD TO CHOOSE A CHAIR. I CHOSE THE B3 CLUB ARMCHAIR
BY MARCEL BREUER.
7. Dezember 2009
6. Dezember 2009
29. November 2009
New York trip
Airport
This is the first drawing I have done on the New York/Drawing Trip
we were still in Heathrow waiting...
we were still in Heathrow waiting...
Abonnieren
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