eMe

Not WHY ..... Just HERE John Cage

[henk-heijmans]

Dancers resting on a rooftop, Asakusa, Tokyo, 1949 - by Toshinori Tanuma (1929 - ?), Japanese

[henk-heijmans]

Harlem, New York City, 1963 - by Leonard Freed (1929 - 2006), American

[henk-heijmans]

Pet half-grown wolf and young girl, Montana, ca. 1910 - by Evelyn Cameron (1868 - 1928), American

[henk-heijmans]

Valeria Kharitonova, ballerina - by Darian Volkova (1990), Russian

[formlab]

llustration for The New Yorker, Alex Merto

[ourheatisgospel]

(via our heat is gospel: Image)

[burningfp]

Rare, Candid Photos Show Louise Bourgeois in Her Home and Studio

via @vexslain

[technicolorshow]

[vjeranski]

Louise Bourgoise

[derby-art-foundation-2016]

Being Human- Assignment

Scenario

What it means to be human is at the centre of art and design practice, from depictions of the human form to considerations of the ergonomics of a chair. Over the next six weeks, you will be exploring this theme independently, working more within your area of specialism.

Whilst still experimenting and taking risks, you should see this assignment as a project to cover all areas of creative practice in depth- exploring context, primary and secondary research, artist research, problem solving, ideas generation, materials and processes and reflection and evaluation.  You should record all of this in your journal, sketch book and/or blog, and you should have a final piece.  This will enable you to get an idea of the grade you might get in preparation for the FMP.

Below are suggested starting points for the Being Human project-you might have ideas of your own you would like to pursue

Keep reading

[leowagermessageslevel3art]

Louise bourgoise

First impressions I can see it a form of shell and that the artist has used directional shading to show the spape and form of the object and thicker lining in the darker areas to show where the light hits. The process of plastic etching is where you catch into plastic to engrave a drawing and roll ink over it to print the lines onto the piece of paper. This could communicate messages to do with holidays sea wildlife and changes to animal health. The most eye catching bit of the piece is the big centre part of the shell as it shows alot of shading and is in the foreground of drawing.

[this-is-not-what-i-expect]

Cell (Eyes & Mirrors), Louise Bourgeois, steel llimestone and glass, 1993

[rearte2]

by Yves Klein

[thunderstruck9]

Yves Klein (French, 1928-1962), Cosmogonie (COS 16), 1960. Dry pigment and synthetic resin on paper, laid on canvas, 23.2 x 17.7 cm.

[mentaltimetraveller]

Yves Klein, Large Blue Anthropometry [ANT 105], 1960

[documentary-surrealist]

In 1961, Yves Klein created the Mur de feu (Wall of Fire) - see bottom photo. It consisted of rows of Bunsen burners mounted on a metal grid, which Klein ignited to explore fire as a "plastic element" and a creative force. This photograph was taken during his "Monochrome und Feuer" ("Monochrome and Fire") exhibition in Krefeld, Germany. Also included in this exhibition was his Colonne de Feu (Column of Fire) - see top photo.

Klein was known for inventing his own deep blue pigment called International Klein Blue (IKB). He was a pivotal avant-garde figure who also worked with air architecture and "fire paintings" using blowtorches. via: google overview

[garadinervi]

Yves Klein, Text by Paul Wember, Monograph of the work, biography and chronology by Gisela Fiedler, M. DuMont Schauberg, Köln, 1969 [Studio Bruno Tonini, Gussago (BS). Art: © Succession Yves Klein / ADAGP, Paris]

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