Aying1001's Blog

Archive for May 2010

Theme

Posted on: May 31, 2010

Kara Walker

This was the interview from Kara Walker.

Kara Walker is an American artist who makes large size black paper silhouettes. She is one of the artist that i have been looking at it . She is the artist who had doing her artwork from her  own memory of childhood.The idea did i get from her is the memory.Kara Walker’s silhouette puppets reveal the veil of the American society. Simple, clean and provoking, and catches people’s attention to want to know more what the story is behind the silhouette puppets.

Kara Walker

“Darkytown Rebellion”

 2001
Installation view at Brent Sikkema, New York
Projection, cut paper and adhesive on wall, 14 x 37 1/2 feet
Collection of Foundation Musée d’Art Moderne Grand-Duc Jean, Luxembourg
Courtesy Sikkema Jenkins & Co., New York

VIDEO: Light Projections

The method is cut black paper silhouettes.Such as people animals and other characters. Her work is large. You might say that Walker has just one subject, but it’s one of the big ones, the endless predicament of race in America. Walker’s smaller works on paper, wood and canvas board. These are mostly watercolors and mixed media pieces that are like laboratory experiments in converting psychic energy into charged imagery.

This is my work.
The content that relate to my work is the memories.But it quite different thing of memories. My is the good thing that’s I love when I’m a child but her one is not a happy memories.
I was using the same method to created my photograph. Cut out paper stuck it on the wall then took a photos.
I really love this work because it similar to my work on Digital Image and also my photographer partner that i working with.Kind of memories and family of they own.

Chistain Boltanski


Bonltanski was born in Paris to a Jewish father of Ukrainian heritage and a Corsican mother. He lives and works in Malakoff and is married to the artist Annette Messager, with whom he sometimes collaborates.His artistic work is haunted by the problems of death, memory and loss; he often seeks to memorialize the anonymous and those who have disappeared.

Bonltanski is the one of my interest artist.I love the idea of how to present your work by the subject matter of your own memories.

  

Title: Faces

Work Date: 1966

Photographs;

I chose this image because it relates to my work . It is in the form of a collage made from overlay negatives when developing photographic images. Individual photographs of  a family are taken and then put together. This was the idea that I get from him and I try to make work that is  similar to him.  His Method is to take photos of an individual  person, make them  different sizes this shows how important that individual is or informs us about how much he wants to talk about that person. He then puts them together through overlay and collage. This can also support other content that is in the picture for instance we begin to notice   the background of the family.

Tittle: ” La vie possible”

1990

I choes this picture because it similar to my work. I have been looking at Boltanski work.His method is present your own memories by making a model,turn the light on and projected on the wall then you can see the shadow on the wall.I was using the same method. Cut out paper (car,bike,book,pencil,shoes,child toys etc) and hang them up,turn the light on to get the shadow.

The hanging model.This was my work but this support to be rotate. This was one of my work that similar to Boltanski work. Using the same method to created the photograph.

 

 

 

Dan Eldon

 Dan Eldon was born in London on September 18th, 1970, and from a very early age displayed signs of an excellent sense of hum our. When Dan was seven years old, he and his three-year-old sister Amy moved to Nairobi, Kenya with their parents, Kathy and Mike Eldon.

Dan Eldon’s life has passed into a kind of cult legend.  His family moved to Kenya when he was six.  

 One short film shows The Lord of the Flies almost come to life, where desperate young children are fighting for food; another, a man whipping people to get them to stand back and fall in line for food.  His photos were sold to Reuters and received near-instant international dissemination.  Reuters put him on assignment.

Dan Eldon

Eldon’s collages mix the random ,newspaper clippings, for instance, with the particular (his own photos) and makes dynamic the relation of outsized events to reflective life.  The washes of paint and overlay of somewhat obsessive marks I see as the substitute for the verbal heartburnings he might have made, (and that his fans have made since).   At the very least, they represent a review and contemplation of the things he had seen and experienced, many of which would not be easily translatable into words.  Eldon’s work is generally seen in reproduction, but its quality in original would impart more crudity crusts of paper and glue and paint on a thin paper backing, so much so that each of the seventeen journals fans out and strains the binding and the cover another nice metaphor for the tissue of narrative order to which we bind events.

The Art Of Life

I chose this image because was one of his work that was the idea that i got from him.To make my work look similar to him.He method is taking photos individual a plase,himself,amimals making the collage. The content is the story behind it.He was travel to many countries and many things happen to him. You acn see from many different photos on this

This picture is from he journal book that’s his done. This was  quite similar to my photographer partner. She has done by the same method, make the collage and took photos. My idea is try to add some writhing, other photo or could be drawing into it.

 

Bibliography

Further Reading/Viewing:
Dan Eldon’s notebooks on the Library of Cultural Curiosity page (on sidebar)
Mark Bowden’s Black Hawk Down

www.daneldon.org/journals/

http://learn.walkerart.org/karawalker

http://en.wikipedia.org/wiki/Christian_Boltanski

Read more: http://lookingaround.blogs.time.com/2007/10/09/kara_walker_at_the_whitney_1/#ixzz0ppWd3jr9

http://likovna-kultura.ufzg.hr/obrazovniweb/slike%20ploha/christian%20boltanski.%20skyggespill3.jpg

Advertisements

conan

Posted on: May 30, 2010

This is one of my favourite drawing from digital drawing. I done it by hand, adding some colours into it . I taking the picture from different page then put them together. All is the most important characters in the story “Detective Conan”

Here is some of the shot movie from  detective conan year nine 2 part1/2

This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abandonment, small town, culture, the cars, language or the kids. The movie is all about the Maori parent they taken they children out with them,but was at night time. They late them waiting inside the car until they coming out of the nightclub. At the time I have seen how was the kids talk.

Damien Hirst – Report by Amanda Cook

001_ThePhysicalImpossibilityOfDeath.jpg
The Pysical Impossibility of Death in the Mind of Someone Living
(1991)

Alongside his countryman Chis Ofili, the work of Damien Hirst was among some of the most controversial art of the nineties’ “New British Artist” Movement. Ofili’s infamous portrait of the Virgin Mary was shown alongside Hirst’s equally infamous “The Physical Impossibility of Death in the Mind of Someone Living”. While Ofili’s painting was lambasted for portraying the virgin Mary alongside pornographic images and elephant dung, Hirst’s piece was criticized as not being art at all. The Stuckism International Gallery famously parodied Hirst’s work by putting a taxidermy shark in their window and calling it “A Dead Shark Isn’t Art”. Originally commissioned by the famous British gallery owner Charles Saachi, the piece is now on display at the Metropolitan Museum of Art in New York City. The piece consists of a preserved shark carcass suspended in a formaldehyde solution; the original shark had to be replaced in 2006 due to deterioration but Hirst considers it to be the same sculpture.

“The Physical Impossibility of Death in the Mind of Someone Living” serves as an effective window into Hirst’s overall body of work. His art almost always deals with critical human issues, most especially death and decay. His work style is distanced; he cites Andy Warhol as his inspiration for his working methods. Hirst works with a dedicated team of assistants who have collaborated with him for years, and he jokingly says that when he grows old he’ll have to scale his work down to accommodate the backs of his assistants because he doesn’t believe in replacing them with younger people. Hirst believes in the importance of the artistic concept above all else; and his hand is usually far removed from the final product. For example, in his extensive series of dot paintings, he only painted five. One of his recent showings, “Beyond Belief” featured a series of intricate “fact paintings”, which were meticulously painted from photographs by his assistants.

“Beyond Belief” also featured Hirst’s most famous contemporary work, “For the Love of God.” The piece is so named because upon telling his mother of his idea, she exclaimed, “For the Love of God!” The piece is a platinum cast of a human skull which was then covered in diamonds. Again, Hirst did not create the piece himself, but commissioned it from Jewelers in England’s Hatton Garden district. The original teeth from the skull were then placed in the mouth. The piece cost around fourteen million pounds to manufacture (equivalent to about 21.25 miillion US). When asked about the cost of the piece, Hirst replied, “…people don’t really mind money being spent on beautiful things, it’s ugly things that are a problem and there are plenty of ugly fucking buildings in the world that cost way more than the skull”.

This work are very lovely. That so expensive and take time to do it.
ForTheLoveOfGod.jpg
For the Love of God (2007)

Like “The Physical Impossibility of Death in the Mind of Someone Living” and his equally famous “Thousand Years”, “For the Love of God” confronts themes of death and the taboo while simultaneously critiquing conventional forms of art. Hirst frequently challenges the boundaries between the literal and the artistic; “Thousand Years” did not represent death, it created it. The piece featured a rotting cow head, a box of flies and a insect electrocuter; creating an entire life cycle within an art gallery. Hirst has said he is interested in creating “sympathy with meat”, by forcing people to confront the empty carcasses of the dead. Before becoming an artist, Hirst spent time in morgues taking notes and sketching; he famously brought a friend to a morgue and punched the corpses to shock his friend into seeing that bodies are nothing but “meat”.

His frequent use of dead animals has brought him a slew of criticism both within the art world and within society at large. However, one of Hirst’s most enduring themes is his confrontation with fears of death; he has reportedly admitted to being terrified of dying and his work directly (and litereally) represents these fears of decay and lifelessness.

To anyone interested in Hirst’s work, I would definitely suggest a personal viewing. The Chambers Art Hotel in Minneapolis has some of his work on display (including a spin painting and a sheep head in a vitrine), and it is free – even encouraged – to walk through the lobby and take a look. Seeing his work first hand is much different than reading about it or looking at picture. Even though I neither love nor hate Hirst’s work, I can say that I only opened up to his work after I saw a piece with my own two eyes, and not before. Seeing something dead in person is inescapable in a way that a photograph is not, and this is the power of Hirst’s animal works. He is a truly unique and opinionated artist; certainly not for everyone. But nonetheless I think everyone should experience one of his works first hand, if only for the confrontation he forces upon you.

ARTSTOR_103_41822003718556.jpg
A Thousand Years (1991)

art_judas.jpg
Judas Escariot (1994) – On Display at the Chambers Art Hotel in Minneapolis

—–


References:

Hirst, Damien. Beyond Belief. London: White Cube, 2008.

—. Void. München: Schirmer/Mosel, 2007.

Hirst, Damien, and Gordon Burn. On the Way to Work. London: Faber, 2001.

Octavia Nicholson. “Hirst, Damien.” Grove Art Online. Oxford Art Online. 26 Nov. 2008 .



  • None
  • Apirath: i love it wow!! great blog....
  • Toni MacKinnon: Good start so far Amornrat. Let's meet next week and talk about how I can assist you with this blog sometime after 3 on Tuesday of next week. cheers,
  • aying1001: This was the one of the great shot movie that I like. This shown the real time that you have been doing. The subject matter is could be family, abando

Categories