the Character

author primary needs

  

  

 

 

author costume research

Joseph Beuys

more Polke from 1964

  

 

                              

                        wir wollen frei sein wie unsere väter waren.                        Reis

                               we want to be free as the fathers were                               Rice

Aleksandr Rodchenko

 

page from 5*5=25: Vystavka zhivopisi

1921 

Sigmar Polke

                                    
  

 

I FOUND AN OTHER NICE POLKE BOOK IN THE LIBRARY. IT WAS PUBLISHED TO ACCOMPANY THE FIRST AMERICAN MUSEUM EXHEBITION OF SIGMAR POLKE´S DRAWINGS FROM THE PERIOD 1963-1974, SHOWN AT THE MUSEUM OF MODERN ART, NEW YORK 1999. I ESPECIALLY LIKE THESE TWO  GOUCHE DRAWINGS, I GUESS BECAUSE I ALSO UESED GOUCHE QUITE OFTEN LATELY TO DRAW WITH (instead of just using it to colour in).

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.

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 

Sketches/ OBJECT 3

 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).

MOHOLY NAGY

Cyclist c.1920 

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.

OBJECT 1 drawings

just a quick sketch of the structure of the chair 

watercolour until it started raining 

should be the Whitney Museum of American Art

it is probably more waffle house

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. 

BAUHAUS-HEFT 1926

Paul Klee

horizont/gipfelpunkt (+) 1925

Ruhrgebiet 1965