This image of a "cloud" by Vik Muniz is actually a photograph of cotton balls fixed to a surface made to look like the sky. Muniz is mainly a photographer and self-described 'low-tech illusionist'. He creates images in a wide-range of materials, from chocolate and sugar to junk and toys to creating images, often art-historical, that he records with a camera. His work is in numerous public and private collections. Muniz has lectured at Harvard, Yale, and nearly every place where people are interested in creative concepts.
And explaining with his words: "The watching of clouds, whether as a method of forecasting or a form of amusement has been going on for centuries: what one person sees as a chariot, another may see as a bear or as a gathering of angels. Visualization comes from within the observer."
Vik Muniz Equivalence (Piglet; tea pot; cat; the rower; praying hands; snail)
Japanese artist Takaya adorns the heads of models with blossoming flowers (and sometimes raw veggies). The artist affixes the clusters of plants to styled hair, just like a florist would arrange a bunch of flowers, before pruning them with hairdressing scissors. This unusual form of decoration is used for both live performances and weddings. Takaya started out in the world of culinary and in 2004, he started his work as a Flower Artist in Kyoto. Using only fresh flowers, he invented an original technique of art in the field of hair dressing, tying together people and flower. He worked with many wedding occasions, live performances and media companies like NHK. For every face and every dress, every proposal is tailored to fit that one individual.
Takaya Hanayuishi #1
Takaya Hanayuishi #2
Takaya Hanayuishi #3
In 1938 artist Harvey Fite purchased 12-acres of land in High Woods, New York.The site would become the setting for Opus 40, a monumental abstract environmental sculpture in bluestone. The piece, which Fite worked on from 1939 until his death in 1976, has received critical acclaim. It is considered a ''cousin of Stonehenge and the long since vanished Hanging Gardens of Babylon." It is a rare example of monumental outdoor sculpture on the east coast. Fite made a name for himself in the theater, but had yet to discover his true calling in the fine arts. Inspired by the art and stone construction methods he saw on his trip in Honduras, upon returning to New York he began work on a series of sculptures and an outdoor gallery to hold them. Working alone, and largely self-taught, he built the gallery of rubble from an abandoned bluestone quarry on the property, using an adaptation of dry key stone masonry, a traditional technique which involves the mortarless careful fitting of stone upon stone.He incorporated the natural landscape, building around trees and pools of water so that they became a part of the piece. He worked without a plan, letting his artist's eye and the shapes of nature combine to form the lines, curves and masses that make up the site. Since he was a lover of history, he used antiquated methods of lifting and positioning the stones, often involving traditional tools such as a gin pole and boom. To accomplish this he lifted with his own hands thousands of tons of bluestone rubble—not only lifted the pieces, but carried them distances up to 100 yards to fit them into his scheme. Pieces too big to be lifted were either mounted on homemade wooden rollers or laboriously broken by sledge hammer. Fite lost 30 pounds that first summer, but developed, incidentally, the finest pair of shoulders. In recent years the site has served as a venue for concerts and performances.
Harvey Fite Opus 40
Denes’s artistic practice applies the exacting precision of mathematics to the often subjective and unstable concepts of awareness for environmental sustainability. This artiust masters geometry, philosophy, cartography, and the physical sciences to create “Visual Philosophy” —her signature method of illustrating how we exist in the world. Denes’s Body Prints overlay impressions of human breasts and phalluses onto sheets of graph paper to humorously transform the body into social critique. she transfers the impressions of penises onto graph paper, creating an allegory for a (maybe) representation of male power. By contrast, she alsp reveals a body print of a female breast morphologically likened to the globe in a more optimistic and fertile projection of the future.
In Denes’s words, “I love mathematics because I could humanize it, and in turn it gave me perfection and beauty.”
Agnes Denes Male Body print
Agnes Denes Female Body print
Christo and Jeanne-Claude
178 trees were wrapped with 55,000 square meters of woven polyester fabric 23 kilometers of rope. The trees are located in the park around the Fondation Beyeler, northeast of Basel, at the German border. A german ompany cut and sewed the fabric. A Switzerland company manufactured the ropes. Field manager Frank Seltenheim of Seilpartner, Berlin, Germany, directed eight teams: ten climbers, three tree pruners and twenty workers. As they have always done, Christo and Jeanne-Claude paid the expenses of the project themselves through the sale of original works to museums, private collectors and galleries. The artists do not accept any sponsorship. The wrapping was removed on December 14, 1998 and the materials were recycled. The branches of the Wrapped Trees pushed the translucent fabric outward and created dynamic volumes of light and shadow and moving in the wind with new forms and surfaces shaped by the ropes on the fabric.
Christo and Jeanne-Claude Wrapped Trees
Christo and Jeanne-Claude Wrapped Trees project
Marinus Boezem The Green Cathedral
De Groene Kathedraal (The Green Cathedra), is a full-size copy of Reims Cathedral by artist Marinus Boezem that replaces stone and glass with trees and sky. About 20 years after it was started the artwork was "completed" in 1996, yet it is expected to reach its full height in 2015.
The trees follow the columns and buttresses of the plan. Stone strips laid in the glass (barely visble) mimic the groin vaults, inverting the church so that ground becomes roof.
While I like land art in general, I'm not usually inclined toward art that mimics in this regard. But the simplification of the space to one repeated element and the opening of the sky above, not to mention the metaphor of a natural cathedral, make this an appealing artwork. In being open to the sky the Green Cathedral reminds me of San Galgano Abbey in Italy.
Marinus Boezem The Green Cathedral
Marinus Boezem The Green Cathedral plan
German artist Walter Mason uses the gifts of nature -- berries, water, grass and trees -- to produce his temporary art installations, but it's Mason's use of leaves that we're concerned with. Mason uses leaves to create gorgeous geometric patterns and collages that he captures in photographs and shares on his Flickr page. He normally uses surgical blades to cut through the leaves.
Walter Mason Leaf Art
Moore was well-known around the studio for his drawings of innocently sexy, often nude, women, referred to as "Freddie Moore Girls." Some of his girl designs found their way into Disney films: for example, the centaurettes in Fantasia and the teenage girls in the "All the Cats Join In" segment of Make Mine Music. His good girl art remains iconic and influential. A model sheet for Ariel in the 1989 Disney film The Little Mermaid made specific distinctions between the design of that character and a "Freddie Moore Girl." He however designed Ariel's sisters, to make them actually different from the main character. He also designed the mermaids in Peter pan. He is best known for being the resident specialist in the animation of Mickey Mouse.
Fred Moore Mermaid sketch (Peter Pan)
Fred Moore Suggestions for Centaurette (Fantasia 1940)
Fred Moore sketch of Mickey Mouse
Robert Smithson Spiral Jetty
Spiral Jetty is an earthwork sculpture constructed in April 1970 on the northeastern shore of the Great Salt Lake in Utah. The sculpture is built of mud, precipitated salt crystals, basalt rocks, and water. Originally black basalt rock against ruddy water, Spiral Jetty is now largely white against pink due to salt encrustation. The sculpture forms a 460m long, 4.6m wide counter clockwise coil jutting from the shore of the lake. The sculpture is sometimes visible and sometimes submerged, depending upon the water level of the Great Salt Lake. Smithson wanted to reconnect with the environment - and this piece in particular reflected his interest in science and geology.
Robert Smithson Spiral Jetty
Raqib Shaw's gloriously opulent paintings suggest a fantastic world full of intricate detail, rich colour, and jewel-like surfaces, all masking the intense violent and sexual nature of its imagery. Inspired by Hieronymous Bosch's fifteenth century visionary triptych. Populated with hybrid creatures, Shaw portrays a dizzying scene of erotic hedonism, both explosive and gruesome. Fusing an array of vibrantly painted flora and fauna, Shaw creates an eco-system inhabited by figures such as phallus-headed birds, bug-eyed butterfly catchers, reptilian warriors, anthropomorphic in their gestures.
Shaw's unique technique, where pools of enamel and metallic industrial paints are manipulated to the desired effect with a porcupine quill, meticulously enhances numerous details within the paintings, such as coral, feathers or flowers. Every motif is outlined in embossed gold, a technique similar to ‘cloisonné’ found in early Asian pottery.
Raqib Shaw Pen, Glue, Industrial Paint and glitter
Raqib Shaw Pen and Industrial Paint
Raqib Shaw Pen and Industrial Paint
Richard Wilson Turning the place over
The work consisted of a vast 10 metre diameter ovoid section of the facade of a disused building in Liverpool. This section of facade had been cut free allowing it to rotate .
This was made possible by mounting the ovoid section of architecture onto a central spindle, aligned at a specific angle to the building. When at rest the ovoid section of façade fitted flush into the rest of the building. The angled spindle was, however, placed on a set of powerful motorised industrial rollers, allowing it to rotate 360 degrees continuously. As it rotated, the facade not only became completely inverted but also oscillated into the building and out into the street, revealing the interior of the building, and only being flush with the building at one point during its rotation. This created an acute sense of disorientation and even danger for the viewer as the architecture physically encroaches on them.
Joseph Beuys 700 Oaks
With the help of volunteers, Beuys planted 7,000 oak trees over several years in Kassel, Germany, each with an accompanying basalt stone. In regard to the extensive urbanization of the setting the work was an extensive artistic and ecological intervention with the goal of enduringly altering the living space of the city. The project, though at first controversial, has become an important part of Kassel's cityscape.
The project was of enormous scope, and met with some controversy. While the biggest difficulty of the project was raising the money, the project had its share of opponents. Much of it was political, from the conservative state government. (The mayor of Kassel was a social democrat who stood by Beuys). Some people thought the black stone markers were ugly, even piling pink stones on the sites in 1982 as a prank. As more trees were planted people's perception of the project started to change, and they gradually started accepting an d appreciating it. “I think the tree is an element of regeneration which in itself is a concept of time. The oak is especially so because it is a slowly growing tree with a kind of really solid heart wood. It has always been a form of sculpture, a symbol for this planet ever since the Druids, who are called after the oak. Druid means oak. They used their oaks to define their holy places. I can see such a use for the future.... The tree planting enterprise provides a very simple but radical possibility for this when we start with the seven thousand oaks.” (Joseph Beuys, 1982 )
Joseph Beuys 7000 Oaks #1
Joseph Beuys 700 Oaks #2
Fischli & Weiss Tate (Flowers and Mushrooms)
''This room brings together selected images from two series of works, Airports1987–2006 and Flowers, Mushrooms 1997/8. It is an intriguing contradiction that in their search for beauty Fischli / Weiss have explored some of the most clichéd and familiar themes in art history – sunsets, dramatic landscapes, flora and fauna – and some of the most humdrum and unexpected – such as airports, suburban housing estates and motorways. In Fischli / Weiss’s universe, both types of subject matter merit equal scrutiny.
Their images of nondescript airports focus on the banal side of air travel; the fuel vehicles, the baggage trucks, the daily routine of the airport worker. These carefully composed images are strangely placid and restful, without any of the noise and anxiety commonly associated with airports.
The alluring flower and fungi images are double-exposures, the result of a technique which involves exposing film twice within the camera. The artists spent many afternoons taking photographs in gardens and vegetable patches, deciding which subjects to photograph one on top of another, but never exactly sure of the outcome. The resulting pictures of over-laid petals, berries, weeds and mushrooms have an unreal quality – colours are intensified, forms are magnified, landscapes are merged with close-up details of plants.''
Flowers, Mushrooms n°1
Flowers, Mushrooms n°2
Flowers, Mushrooms n°3
Definition of Tool
- A device or implement, especially one held in the hand, used to carry out a particular function
- A thing used to help perform a job
- A person used or exploited by another
- A stupid, irritating, or contemptible man
- A man’s penis. (slang)
Donovan's work uses everyday manufactured materials such as Buttons, Styrofoam or plastic cups, Paper plates, Toothpick, and drinking straws to create large scale sculptures. Her sculptures must be assembled and disassembled carefully, which sometimes involves an extremely tedious process. With regards to her artistic process, Donovan explained that she chooses the material before she decides what can be done with it.
"It is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow."
Tara Donovan Mylar and hot glue
Tara Donovan Buttons and glue
Tara Donovan Styrofoam cups and glue
Joana Vasconcelos Animal and Insect Sculptures
In an ongoing series by Joana Vasconcelos, the Portuguese artist has been wrapping various animals like wasps, snakes, crabs, frogs, bull-heads, in five-needle lace, handmade cotton crochet. But these aren’t any old animals. Vasconcelos has appropriated the ceramic artwork of Rafael Bordalo Pinheiro (1846-1905), one of the most renowned Portuguese artists of the 19th century. Each of the pieces “are ambiguously imprisoned/protected by a second-skin in crochet-work,” says Vasconcelos.
Joana Vasconcelos Crab
Joana Vasconcelos Frog
THE RIGHT WAY (Fischli/Weiss)
A rat and a bear go hiking in the free, so-called unspoiled countryside, at the mercy of the elements, of all sorts of miracles - and, above all, of themselves. With pure hearts and a lot of goodwill, they try to find reasons for all they see and experience. Voluntarily, they sometimes find themselves closer than expected to the right way.
THE RIGHT WAY n°1
THE RIGHT WAY n° 2
THE RIGHT WAY n° 3
The art of Silk Fabric's decoloration, China. Elements of abstract painting applied on silk
Deborah Younglao, Painting on silk, Scarves
Since one the random words that i got for this project is silk, I tried to think about how to rapresent that specific material on paper and (other than watercolors) I thought that the best option would have been a 3d drawing on the computer and I came accross this site weavesilk.com, a site ,apparently well known where everyone can go and have a try drawing with this amazing and really easy technique and make almost anything you want out of it
weavesilk try 1
Since I tried to work with watercolors to draw the silk it really turned out to be a very good idea, and here I am, back to my beloved pencil