Thursday, 26 March 2009
Chickamauga Monument
A monument put on the Chickamauga Battlefeild.
Instead of a tower, what about a monument? using the sourced materials i have already located could i construct my own monument, perhaps leaving the inside of the structure raw and unrefined as to show the process of the construction of the piece, leaving the skeleton of the work visible will incorporate an alternative assessment of the piece itself. Would this concept comply with what i hope to present?
Liam McNamara
Evaluation of Kawamata's practice in comparison to my own
Kawamata creates projects which border on installation and architecture, his artistic interventions are focused on urban sites. The artist refers to the relationship between the artistic creation /material/ existing space, by composing the work into the existing environment and building a structural connection. Kawamata's works are ingenious simulations of urban situations - roads, bridges, passages, "private" spaces - they are unreal, unrealistic and non-functional objects. The artist relates to the urban chaos of modern cities which is invisible at first glance because it is hidden behind rational, planned structures. Kawamata builds over existing urban objects, facades and interiors with complicated labyrinths of scaffolding, creating a resemblance of architectural "cancer". He defies the rules of logic and symmetry, the laws of architectural rhythm and multi-level hierarchy, questioning the systems of habits linked to utility and aesthetics. His projects provoke associations with the polymorphous and equivocal nature of fractals.
Some of the fundamental themes occurring in Kawamata's practice feature heavily within my own practice. ideas of showing the relationship between individualistic artistic creation/ materials/ and already existing space's, the incorporation of these ideas exist as underlying concepts within my practice. How best can i communicate my ideas, and in what form should these concepts be constructed?
Some of the fundamental themes occurring in Kawamata's practice feature heavily within my own practice. ideas of showing the relationship between individualistic artistic creation/ materials/ and already existing space's, the incorporation of these ideas exist as underlying concepts within my practice. How best can i communicate my ideas, and in what form should these concepts be constructed?
Artist's - Brennan Buck (with help from Rob Henderson and students from the University of Applied Arts in Vienna)
Title - Technicolor Bloom
What if i built a tunnel, passing through the gallery space for spectators to interact with by walking through it. The experience would be the journey through the tunnel. How would i (if i did), light it? Would i use the pallets to construct it from?
Olafur Eliasson
Monday, 16 March 2009
My experience into carpentry
Each summer i spend working on numerous building sites to raise money for my following year of study, unknowingly the skills i learnt during these times have become dominant in my practice. I feel comfortable working with raw materials and feel the outcomes i produce are increasingly successful. On each new site i spent my time laboring and learning from tradesman across the spectrum of contemporary skills used within construction, from these life experiences i have gained an invaluable knowledge which has both broadened my concepts with how my current practice is developing, and on what i am now able to achieve with my newly gained industrial understanding.
Knock Down Fittings
Knock Down Fittings
There are many different types of knock down fittings. They are usually fixed with screws to the two pieces being joined and are pulled tightly together by a locking screw.
Most knockdown fittings are used for temporary joints which hold pieces together without the use of glue. They are usually used with self assembly furniture.
Cross Halving Joint
Dovetail Halving Joint
Tee-Halving Joint
Corner Bridle Joint
Corner Halving Joint
Corner Mitre
Stopped Housing
Housing joint
Dovetail Joint
Comb Joint
Dowel Joint
Dowel Joint
This corner joint is essentially a butt joint which is strengthened by wooden pegs called dowels which are pushed into both pieces of wood as they are glued. Dowel joints can also be used to make partitions. If the dowel holes are 'blind' (they do not go all the way through) the dowels are completely hidden
Mitre Joint
Mitre Joint
This joint is used on corners. It is useful because it hides the end grain and also provides a larger gluing area. Like the butt joint it is weak unless the joint is strengthened. This is often done by cutting slots and gluing veneers in between. Mitres must be cut at 45O we use a mitre box for this purpose.
Rebate Joint
Butt Joint
Friday, 13 March 2009
Overview of the Babylon Exhibition
I discovered this exhibition online and decided to visit as it strongly supports my practice. The story of the mythological tower is something i read about as a child, myths and fables have always interested me and were always a dominating theme within my childhood, so i am not surprised that my practice has (perhaps subconsciously) turned down this route. Personally i find historical architecture interesting to learn about, and find it visually stimulating. The thought of these amazing structures once having existed, having been built purely by hard labour under immense visionary skills, is something i enjoy researching and am sure will benefit my concepts positively.
The Story has reached us most widely through the Bible, the most extensively read book in the world. This is what gives the Babylon fantasy its remarkable reach. From the destruction of Jerusalem by the Babylonians; the taking into captivity of the Jews; the psalmist laments about sitting by the rivers of Babylon, the Tigris and the Euphrates, and remembering Zion, have all entered our consciousness on a primary level through the education of the Bible. When stalking the halls of the British Museum i find myself engrossed in all and everything it has to offer.
The show consists of a thoroughly absorbing display of relaxed revisionism that sets out to tackle the myths about Babylon. Its not filled with ancient treasures, and marvelous wonders from the old world. Instead, an interesting array of maps, models, texts and photos, accompanied by a precious selection of battered artifacts make up the source of the exhibition, in a comprehensive telling of Babylon’s fantastical story. An exciting display of hopeless western pictures, desperately trying to visualize the distant Metropolis present some of the exhibitions most interesting work.
The most exciting artworks on display are western pictures trying hopelessly to visualise distant Babylon.
The Story has reached us most widely through the Bible, the most extensively read book in the world. This is what gives the Babylon fantasy its remarkable reach. From the destruction of Jerusalem by the Babylonians; the taking into captivity of the Jews; the psalmist laments about sitting by the rivers of Babylon, the Tigris and the Euphrates, and remembering Zion, have all entered our consciousness on a primary level through the education of the Bible. When stalking the halls of the British Museum i find myself engrossed in all and everything it has to offer.
The show consists of a thoroughly absorbing display of relaxed revisionism that sets out to tackle the myths about Babylon. Its not filled with ancient treasures, and marvelous wonders from the old world. Instead, an interesting array of maps, models, texts and photos, accompanied by a precious selection of battered artifacts make up the source of the exhibition, in a comprehensive telling of Babylon’s fantastical story. An exciting display of hopeless western pictures, desperately trying to visualize the distant Metropolis present some of the exhibitions most interesting work.
The most exciting artworks on display are western pictures trying hopelessly to visualise distant Babylon.
Babylon Myth and Reality - Installation View of One Room
Babylon
Myth and Reality
British Museum, London
WC1
View of the British Museum's exhibition showing glazed brick reliefs of lions and a model of ancient Babylon. For 2,000 years the myth of Babylon has haunted the European imagination and inspired artists, writers and philosophers. The exhibition at the British Museum in London explores the Babylon of our imaginations alongside artefacts from ancient Mesopotamia to build up a picture of one of the greatest cities of antiquity.
Babylon Myth and Reality - Installation View of Three Paintings
Babylon Myth and Reality - Michael Lassel
Babylon Myth and Reality
Tuesday, 10 March 2009
Tree-House Studio
DAWN DEDEAUX
WORLD HEADQUARTERS
Dawn DeDeaux has been wind tossed by Hurricane Katrina to a Tree House on the Fish River a few miles from the Gulf of Mexico in coastal Alabama. American Artist Dawn Dedeaux relocated her studio after her original space was destroyed by a hurricane, making her new live and work in studio a piece of work itself.
Worlds Largest Tree-House
Sunday, 8 March 2009
Anne-Marie Watkins
Artist - Anne-Marie Watkins
Title: Monument
Work Type: sculpture
Date of work: 1988
Materials: mdf, sensosan reflect
Measurements: height: 4.8 ft - width: 5.6 ft - depth: 2.6 ft
Style Period: contemporary art
Subject: object
Description: Metallic mirrored square arch and lintel, standing on a mirrored base.
An alternate means to forcing the spectators to interact with the piece, whoever looks upon any surface of Anne-Marie Watkins's 'Monument', sees his or her own reflection, immediately making them apart of the work.
Laura Morrison
Artist - Laura Morrison
Title: Mini Monolith
Work Type: sculpture
Date of work: 2005
Materials: paint, canvas, non firing clay
Measurements: height: 15 cm -width: 13 cm -depth: 9 cm
Style Period: contemporary art
Subject: object, architecture, recurring motif
Technique: sculpture, painting
Description: A series of objects and paintings. Selectors’ comments: ‘Great interplay of objects and paintings. Which is the detail? Where is it going? Very obsessive and rewarding. Inside the sliced mini mountain is a wall, a hole-less cave. The troglodyte forgot to make a door and was worshipped as an Aztec jumping has been. The feeble blue castle turret did offer scant protection to King Gerry the Gerbil for republican rats.’
Geraldine Marks
Artist - Geraldine Marks
Title: Crazy About You
Work Type: sculpture
Date of work: 1993
Materials: miniature mountain on table: table, plaster, irridescent paper, perspex, acrylic paint, glitter
extent: photograph
Measurements: height: 105 cm
extent: table installation
width: 52 cm
extent: table installation
depth: 52 cm
extent: table installation
height: 75 cm
extent: photograph
width: 50 cm
extent: photograph
Style Period: contemporary art
Subject: landscape, mountain, miniaturism
Jenny Dunseath
Artist - Jenny Dunseath
Title: Tunnel
Work Type: sculpture
Date of work: 2004
Materials: paper, gum strip
Measurements: height: 60 cm - width: 100 cm - depth: 160 cm
Style Period: contemporary art
Subject: architectural object, tunnel
Technique: paper construction
Description: Series of sculptural constructions made from simple materials.
Saturday, 7 March 2009
Donald Rodney
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