Joy
May 30, 2009
Few photos that I’ve taken and edited recently. Enjoy!
And you may visit
http://ejderiye.deviantart.com
http://www.flickr.com/photos/29021467@N07/
to see some more.
The Swiss Style
May 29, 2009
A new graphic design style emerged in Switzerland in the 1950s that would become the predominant graphic style in the world by the ’70s. Because of its strong reliance on typographic elements, the new style came to be known as the International Typographic Style.The style was marked by the use of a mathematical grid to provide an overall orderly and unified structure; sans serif typefaces (especially Helvetica, introduced in 1957) in a flush left and ragged right format; and black and white photography in place of drawn illustration. The overall impression was simple and rational, tightly structured and serious, clear and objective, and harmonious.
Joseph Mueller-Brockman
Armin Hoffman
Fridolin Mueller
Max Bill
Kinetic Typography
May 26, 2009
A typography experiment animated and designed by graphic artist Sebastian Jaramillo ( http://www.sebastianjt.com ) based on the movie Fight Club on the scene “Chemical Burn”.
Graphic Designer: Oded Ezer
May 24, 2009
Oded Ezer, a typographic artist, logo and type designer, is also a lecturer and a typographic experimentalist. His studio is located in Israel.
-“Ezer’s work is emotional and powerful… his typographies are as exceptional in this field as they are outstanding, to say the least” Die Gestalten Verlag
-”Oded Ezer, master of inventive Hebrew lettering” Michael Bierut
-”One of the few design stars from Israel. Amazing work” Armin Vit
-”Fascinating!” The NY Times
-”Literally embody the dream of design and science coming together” Paola Antonelli, NY MoMA
I would like to buy this book! And not just because of the tagline, believe me!
You can order one here.
Visit My Flickr/Deviant
May 19, 2009
Will Henry Jenkins Hear About It?
May 18, 2009
WILL HENRY JENKINS HEAR ABOUT IT?
Lanfranco Aceti
Istanbul, May 12, 2009
A socially networked artwork
-Please do not spoil the game by telling Henry Jenkins-
…………………………………………………………………………………………………………………….
The game – We are throwing bottles in the sea with a message to Henry Jenkins as well as throwing a message in the sea of the information of social networks on Facebook to see if Henry Jenkins will stumble upon the event online first or will receive the message in a bottle. The object of the game is to see if and how he will find out about the project.
Rules of the game – To participate print, copy or download this text, place it in a bottle, on a message board, an announcement list or share it with your Facebook friends. Throw the message in the sea of information systems, and take screenshots or pictures and videos of the bottle in a real space – images can be of any phase – from when you print this message, to when you put it in the bottle or to when you throw the bottle in the river or in the sea of information systems, to when the bottle is traveling in the waters of digital comments. Lastly share the images and videos with me (Lanfranco Aceti) on Facebook. [Please do not throw bottles in the real sea and leave them there adding to the already existing pollution.] The contributions from the audience will become part of an art installation and new video work.
In the chaos of information that characterizes contemporary society, is social networking really making a change? Or does the dissemination and distribution of our lives through social networks add to the sea of information, therefore depriving us of the possibility of making any impact? Are the currents of the seas and the oceans better forms of distribution of information than the speedy currents of contemporary digital media?
The audio, video and photographic records of the game, together with digital artworks and documentation from similar events taking place in Istanbul, Manchester, Rome, London and other locations around the world will be posted on the Internet in order to compare the ‘navigability of the sea of information’ with that of the real waves and chain of events happening in real life.
If you find this message in a bottle, very few were actually placed in the sea, please send it via mail to: Professor Henry Jenkins, Comparative Media Studies, Massachusetts Institute of Technology, 77 Massachusetts Ave., Building 14N-207, Cambridge, MA 02139-4307, USA.
Please also let Lanfranco Aceti know willhenryjenkinshearaboutit@gmail.com that you have found the real bottle and mailed the message to Henry Jenkins.
The Womanhouse
May 16, 2009
Womanhouse (30 January & 28 February, 1972) was a women-only art installation and performance organized by Judy Chicago and Miriam Schapiro, co-founders of the California Institute of the Arts (CalArts) Feminist Art Program. Chicago, Schapiro, their students and artists from the local community participated. Chicago and Schapiro encouraged their students to use consciousness-raising techniques to generate the content of the exhibition. Each woman was given a room or space of her own in a 17-room mansion in Hollywood, California.
Only women were allowed to view the exhibition on its first day, after that the exhibition was all-come, all-see. Chicago observed that on the first day, responses to the artwork were heightened, and on subsequent days responses were muted.
The initial idea to create Womanhouse was Paula Harper’s, she helped to conceptualize the project at the beginning. Later, the conception of Womanhouse continued as a topic for discussion in one of the class meetings. During the discussion, students asked what it would be like to work out one of their closest associative memories, the home, which as a culture of women have been identified with for centuries. It has been the place where women struggled to please others. The students wondered what the home would be like if they pleased no one but themselves as women and began the project.
The relationship between biology and social roles formed the foundation of Womanhouse. Most of the rooms replicated areas of the house while at the same time challenged the activity of that room and the meaning of that activity to women’s self-image through creative exaggeration.
A 47-minute documentary film was made in 1974 about the project by Johanna Demetrakas, and is now available on video. Though I could not access it yet.
Yves Klein – Anthropometry Performance (1960)
May 15, 2009
About Yves Klein
Yves Klein (28 April 1928 – 6 June 1962) was a French artist. Klein was born in Nice. Both his parents were painters. He lived in Japan for a time, becoming an expert in judo, before settling in Paris and beginning to exhibit his work there. Many of these early paintings were monochrome and in a variety of colours. By the late 1950s, Klein’s monochrome works were almost exclusively in a deep blue hue which he eventually patented as International Klein Blue (IKB). As well as conventionally made paintings, in a number of works Klein had naked female models covered in blue paint dragged across or laid upon canvases to make the image, using the models as brushes. Sometimes the creation of these paintings was turned into a kind of performance art – an event in 1960, for example, had an audience dressed in formal evening wear watching the models go about their task while an instrumental ensemble played Klein’s The Monotone Symphony, which consisted of a single sustained note. Klein also made sculptures in deep blue, and worked with fire, creating some sculptures using it, and setting fire to some of his canvases, thus making scorched holes in them. Klein is also well known for a photograph, Saut dans le Vide (Leap into the Void), which apparently shows him jumping off a wall, arms outstretched, towards the pavement. Klein is considered an important figure in post-war European neo-dadaism. He engaged in such provocations as “publishing” a chapbook containing only empty pages and selling empty spaces in exchange for gold which he then threw into the river Seine. Klein died in Paris of a heart attack.
Saut Dans Le Vide
The Monotone Symphony (1949, rec. March 9, 1960)
On a clear night in March at ten pm sharp a crowd of one hundred people, all dressed in black tie attire, came to the Galerie International d’Art Contemporain in Paris. The event was the first conceptual piece to be shown at this gallery by their new artist Mr. Yves Klein. The gallery was one of the finest in Paris.
Mr. Klein in a black dinner jacket proceeded to conduct a ten piece orchestra in his personal composition of The Monotone Symphony, which he had written in 1949. This symphony consisted of one note.
Three models appeared, all with very beautiful naked bodies. They were then conducted as was the full orchestra by Mr. Klein. The music began. The models then rolled themselves in the blue paint that had been placed on giant pieces of artist paper – the paper had been carefully placed on one side of the galleries’ wall and floor area – opposite the full orchestra. Everything was composed so breathtakingly beautifully. The spectacle was surely a metaphysical and spiritual event for all. This went on for twenty minutes. When the symphony stopped it was followed by a strict twenty minutes of silence, in which everyone in the room willingly froze themselves in their own private meditation space.
At the end of Yves’ piece everyone in the audience was fully aware they had been in the presence of a genius at work, the piece was a huge success! Mr. Klein triumphed. It would be his greatest moment in art history, a total success. The spectacle had unquestionable poetic beauty, and Mr. Kleins’ last words that night were, “THE MYTH IS IN ART”.
Source: http://www.artep.net/kam/symphony.html
The phrase “body of art” aptly describes Yves Klein’s “Anthropometrie” series. Klein (1928 – 1962) employed female models as “living paintbrushes” for the paintings, which were named after the study of human body measurements. Clad only in the artist’s patented International Klein Blue paint, the models made imprints of their bodies on large sheets of paper. Klein often staged the creation of these works as elaborate spectacles for an audience, who imbibed blue cocktails and listened to a performance of his “Monotone Symphony,” a solitary note played for 20 minutes, followed by 20 minutes of silence. The prints are on the boundary between the figurative and the abstract, but instead of a dramatic expression of experiences they are simply expressive prints of bodies.
Graphic Design: Aleksander Mikhailovich Rodchenko
May 14, 2009
Aleksander Rodchenko
Rodchenko (1891-1956) was a Russian artist, sculptor, photographer and graphic designer. Malevich, when commenting on Rodchenko’s work, has used the term “constructivism”; meaning that the idea of “art for art’s sake” was rejected in favour of art as a practice directed towards social purposes.
Rodchenko’s photography included analytical documentary photo series, mainly aiming to shock and postpone recognition of the subject matter. He eliminated all unnecessary detail in all fields of his work and favoured diagonal compositions.
Rodchenko’s photography
Rodchenko’s Graphic Design
Aleksander Rodchenko’s graphic design is believed to be the root of 20th century graphic design. His most influencial works are his editorial design works for magazines rather than his advertising works.
The Flappers of 1920′s
May 13, 2009
Those of you who have seen Chicago musical by Rob Marshall would surely remember the song “All That Jazz”.
“…I’m gonna rouge my knees
And roll my stockings down
And All That Jazz…”
The term flapper in the 1920s referred to a “new breed” of young women who wore short skirts, bobbed their hair, listened to the new jazz music, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles and otherwise flouting social and sexual norms.
Flappers had their origins in the period of liberalism, social and political turbulence and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe.
Flappers’ behavior was unheard of at the time and redefined women’s roles forever. Flappers went to jazz clubs at night where they dance provocatively, smoked cigarettes through long holders, sniffed cocaine (which was legal at the time) and dated freely. They rode bicycles and drove cars and drank alcohol openly, a defiant act in the American period of Prohibition. Petting became more common than in the Victorian era. Petting Parties, where petting (“making out” and/or foreplay) was the main attraction, became popular.
Flappers also began taking work outside the home and challenging women’s traditional societal roles. They also advocated voting and women’s rights. With time came the development of dance styles then considered shocking, such as the Charleston, the Shimmy, the Bunny Hug and the Black Bottom.
In addition to their irreverent behavior, flappers were known for their style, which largely emerged as a result of jazz and the popularization of dancing that accompanied it. Called garçonne in French (“boy” with a feminine suffix), flapper style made them look young and boyish. Short hair, flattened breasts, and straight waists accentuated the look.
Despite all the scandal flappers generated, their look became fashionable in a toned-down form among even respectable older women. Most significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines and popularized short hair for women.
Dancing Charleston
Flapper dresses were straight and loose, leaving the arms bare and dropping the waistline to the hips. Silk or rayon stockings were held up by garters. Skirts rose to just below the knee by 1927, allowing flashes of knee to be seen when a girl danced or walked into a breeze, although the way they danced made any long loose skirt flap up to show their knees. Flappers powdered or put rouge on their knees to show them off when dancing.
