Image and spectacle

Goal
A hands-on understanding of visual analyses via searching in databases. Exploration of the concept of ‘remix’ and associating concepts: ‘original’ and ‘the myth of originality’, ‘reproduction’ and ‘version’.

Method

1. Everyone gets a ‘remix’: an example of an image that is part of the ‘society of the spectacle’ as well as a ‘remix’
2. Find the original. Collect metadata: Title, author, subject, medium, date, place
3. Find/collect more ‘versions’.
4. Document / collect everything you find along the way that you think is relevant. Write down where you found it (source); a dummy, notebook, log, bookmarks.
5. Post it on the collective database (WordPress).

Tips

Ways to find the original (in random order)

— Look closely at the image. Again and again.
— Write down keywords of what you see.
— Write down what you associate it with, use you imagination.
— Write down what you know.
— Write down what you don’t know; formulate questions.
— Ask others (roommates, parents, friends, teachers) what they know about this image.
— Search for copies and visual rhymes by uploading it in: http://images.google.com and https://yandex.com/images/
— Search for metadata by uploading it in Jeffrey’s Image Metadata Viewer: http://exif.regex.info/exif.cgi
— Use several and combinations of keywords in 1. a search engine: google.com, images.google.com and scholar.google.com
— Search the media-library: https://hogeschoolrotterdam.on.worldcat.org/discovery
— Search one or more of the databases: https://static.mywdka.nl/researchstation/databases/
— Look for visual rhymes (=images that look like or repeat certain element of the image): offline (on the streets, in newspapers and magazines, in art(history)books) and online (videos on YouTube, Vimeo, Netflix, social media, Instagram, Facebook, Twitter, Pinterest,…)

Online de vraag gesteld:
What do you know about this image?
en dit waren de antwoorden:

Gezocht met google afbeeldingen:
Ik heb de afbeelding van mijn post card gevonden op de website van mark en heb deze daarna in google gezet, daar kwamen de volgende visueel vergelijkbare afbeeldingen naar voren:

met de mogelijk gerelateerde zoekopdracht:
Signage

Na een tijde scrollen kwam ik uit op de foto met LOVE erop, wat heel erg leek op de SALE foto. Vervolgens heb ik deze als zoekopdracht gebruikt en kwam ik op het volgende uit:

Famous pop art sculptures

In 1977 Indiana conceived a new version of his iconic LOVE sculpture, AHAVA, using the Hebrew word for “love” in the same distinctive quadripartite composition that he had developed in the mid-1960s. The work embodies Indiana’s unique approach to sculptural form, translating the two-dimensional written word into a monumental sculpture with precisely rendered hard edges.

http://robertindiana.com/works/ahava/

“The “LOVE Sculpture” is the culmination of ten years of work based on the original premise that the word is an appropriated and usable element of art, just as Picasso and the Cubists made use of it at the beginning of the century, which evolved inevitably, in both my “LOVE” paintings and sculpture, into the concept that the word is also a fit and viable subject for art.

For me it was the drawing of a circle back to the beginnings of my known work, which were the wooden constructions that I started in the fifties. I thought of myself as a painter and a poet and became a sculptor because the raw materials were lying outside my studio door on the lower Manhattan waterfront. The old beams from the demolished warehouses cut down and sat upright as stelae had the breadth to bear just one word, such as “Moon” or “Orb,” or “Soul” and “Mate,” as did some of my first word paintings, i.e. the diptych panels “Eat” and “Die,” but the sheer expanse of the wide canvases led to the proliferation of the word and whole passages and wheels of words appeared.

With “LOVE” it was back to the single word and also a return, after several years of paintings with the circle the dominant form, to the quartered canvas, or, in this case, structure. An earlier preoccupation, it is manifest in the Museum of Modern Art’s “American Dream,” which originally had no words, no numbers, no stars nor stripes, but four discs arranged on a structured field.

Here the quartered field is filled with the four letters of love, as compactly and economically as possible, but with my interest in the circle still called to mind by the tilted o.”

— Robert Indiana

WHEN THE WORD IS LOVE, 1955
BY ROBERT CLARK
PUBLISHED IN ROBERT INDIANA: FIGURES OF SPEECH (NEW HAVEN: YALE UNIVERSITY PRESS, 2000)

Hier kwam zijn inspiratie vandaan voor het LOVE beeld
een gedichtje uit 1955 geschreven door robert

Het ontstaan van LOVE

LOVE, 1964

COLORED PENCIL ON PAPER
8 X 8 IN.
(20.3 X 20.3 CM)

SPENCER MUSEUM OF ART, THE UNIVERSITY OF KANSAS, GENE SWENSON COLLECTION, 70.124A

©2019 MORGAN ART FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NY

LOVE, 1966

OIL ON CANVAS
71.8 X 71.8 IN.
(182.5 X 182.5 CM)

IINDIANAPOLIS MUSEUM OF ART AT NEWFIELDS. JAMES E. ROBERTS FUND

©2019 MORGAN ART FOUNDATION/ARTISTS RIGHTS SOCIETY (ARS), NY

NEXT NEXT NEXT ----->

http://sots21c.wdka.nl/the-donut-economy-in-practice/

More green at bus & tram stops

A green roof contributes to biodiversity, better air quality, less particulate matter in the air, mountains of rainwater and offers a cool shelter in the middle of summer. Enough reason for other municipalities to also focus on more green bus and tram stops. The municipality of Eindhoven was there early and had the first green bus shelter in 2010. At the time, the municipality organized the ideas competition “Eindhoven Surprisingly Green”, the winning design was the green bus shelter.

http://sots21c.wdka.nl/art-in-times-of-corona-nxt-museum/

How did today’s media landscape emerge, and what is next? These are some of the questions the museum will be debating throughout their exhibitions. Based in a former production studio, Nxt Museum is embedded in an environment that has always enabled new forms of media creation.

LOVE
Dan ontwerpt Robert Indiana een kerstkaart voor het Museum of Modern Art, die als ikoon de hele wereld over zou gaan. Op de kaart staan gestapeld vier letters die samen het woord LOVE vormen - hét symbool van de jaren zestig - waarbij de O een kwart slag is gedraaid.

Indiana, die zijn LOVE-ontwerp zag als een grafisch gedicht van één woord, zou nog vele tientallen jaren op die vondst variëren. Er werden metershoge beelden van aluminium en staal gemaakt, er kwamen schilderijen van, grafiek, ringen en reusachtige wandkleden.

Snel deed Indiana ook internationaal van zich spreken. Al in 1966 had hij zijn eerste solotentoonstelling in Europa, getoond o.a. in het Van Abbemuseum in Eindhoven, in het Museum Haus Lange, Krefeld en in de Württembergische Kunstverein, Stuttgart.

In 1968 was hij prominent met meer dan 20 werken vertegenwoordigd op de documenta 4 in Kassel.

De Amerikaanse posterijen gaven in 1973 een LOVE-postzegel uit, waarvan er 3.300.000 werden gedrukt.

https://www.kunstbus.nl/kunst/robert+indiana.html

https://nl.pinterest.com/pin/754775218791850855/

Title: LOVE
Author: Robert Indiana
Subject: Love
Medium: Sculture
Date: 1966–1999
Place: Zijn beeld Love staat op verschillende plekken wereldwijd opgesteld in diverse uitvoeringen qua materiaal en taal.

Het ontwerp Love ontstond in 1964 als een kerstkaart voor het Museum of Modern Art. Het ontwerp werd in meerdere variaties uitgewerkt, waaruit het museum de rood-groen-blauwe versie koos.

Published in Art Now: New York, March 1969.

POLYCHROME ALUMINUM
144 X 144 X 72 IN.
(365.7 X 365.7 X 182.9 CM)

$1,200,000 - 1,800,000
SOLD FOR $1,314,500

Link gekregen van Mark tijdens de les:

http://search.it.online.fr/covers/?tag=robert-indiana

For the 2021 Cruise Collection, the French fashion brand designs this 1000$ dollar face mask, launching on October 30th

Louis Vuitton is releasing a face shield with golden studs to protect luxury buyers from coronavirus

With no end in sight to the coronavirus pandemic, it looks like protective face wear is here to stay.
But who says it can't be stylish?

Throughout the pandemic, designers have been releasing their take on face masks -- luxury versions include Off-White's popular $95 Arrow logo face mask and Burberry's vintage check cotton design, retailing for £90 ($115).
And now, Louis Vuitton is taking it a step further, releasing a luxury face shield that's designed to be "both stylish and protective," the French fashion house said in a statement.

Louis Vuitton, Burberry and Chanel put their fashion muscle behind face masks

The "eye-catching" LV Shield transitions from clear to dark in sunlight, protecting wearers from the sun. It also features golden studs engraved with Louis Vuitton's brand name and an elastic, monogrammed headband. The visor can also be worn upward as a classic peaked cap, according to the label.

Pricing has not yet been announced, but as a high-end fashion brand, it's not likely to be cheap. Other Louis Vuitton head wear, including hats and sunglasses, sell for hundreds of dollars.

The face shield will be sold online and at select Louis Vuitton stores starting on October 30.

Echo is the working title of an ongoing material research into creation of shape by repetition. The base of the project is a physical material which Hess alters into sculptural timelapses in his digital world. The project is named after a common software filter which uses the history of movement to visualize its journey through time.

Hess first started the research as part of a commission by the Dutch National Glassmuseum in Leerdam. By using see-through plastics such as balloons and foils Hess created an animation in which a human body gets captured by shells and shapes of what appears to be liquid glass.

The Manipulation
Color

The Manipulation
of movement

Wanneer vind ik een afbeelding of verhaal interessant? Als er een vorm van tegenstellingen/tegenpolen in zit. Een voorbeeld is de data die gebruikt wordt als kunstwerk in een museum, data is niet vanzelfsprekend kunst, vandaar dat dit mijn aandacht trekt. Het verhaal erachter blijkt dan ook nog krachtig te zijn, een tegenstelling, omdat deze data een geheim is voor veel mensen, en deze in een museum toegankelijk wordt gemaakt. In mijn booklet heb ik dit ook terug laten komen, ik heb bij elke afbeelding een tegenstelling gezocht en deze verwoord, vervolgens heb ik het boek zo ontworpen dat deze context los komt te staan van de afbeelding, waardoor iemand eerst zelf moet nadenken voordat mijn waarheid erbij komt. Dit doe ik namelijk zelf ook altijd in een museum, eerst zelf het kunstwerk ervaren en daarna pas kijken naar het verhaal erachter. Soort creatief denken. En niet beïnvloed zijn door andermans verhaal.