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Richard sent me these!!!! Very excited about these initial scan images of one of my install face.
Month: October 2020
Moon double head in progress 5.10.20
this is based on a drawing. I wanted to explore spherical forms with the smiling faces. In doing so I seem to have made something like a moon type character? I am quite interested in seeing how this terns out. I want this piece to be particularly smooth and regular, i think this piece would be interesting in digital or 3D printed form.
Seated figure in progress 5.10.20
I’m not sure if i can cast this effectively, but i think it will be an interesting challenge. It would also be interesting to stick multiples of this together.
I hope to finish this to a slightly more detailed level.
frowning smiling head
I didn’t a line this very well but i still like the idea. I am going to see if i can make it any more polished looking. I think I wnat to develop this idea into an upside down – right way up version of this head. ( see October drawings)
frowning face in plaster
I am pleased with how this one has come out. I quite like its bumpy texture, but i’m not sure how well it will translate to the 3D printed version.
Moulds
This first mold is made from silicon and is of the normal/ slight smile face
This mold is made from latex with a plaster armature. This was my first time using latex and although it was a bit of a slow process it is a lot cheaper and has worked just as well as silicon so I’m inclined to continue using it.
Drawings October
Acute Art – as used by KAWS
Acute Art brings together renowned international artists, new media and technology to produce and exhibit compelling, cutting-edge visual artworks in Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR).
Works produced include those by Marina Abramović, Nathalie Djurberg & Hans Berg, Olafur Eliasson, Antony Gormley, Anish Kapoor, Bjarne Melgaard, Jeff Koons, KAWS and more. The artworks are accessible through our creative collaborations with recent exhibitions taking place in Basel, London, Moscow, New York and Venice.
Discover AR artworks within the comfort of your own home by downloading the free Acute Art app available on the App Store and Google Play.
Acute Art is directed and curated by Daniel Birnbaum. He was most recently Director of Moderna Museet in Stockholm before joining Acute Art in January 2019. Previously, Birnbaum curated the 1st Moscow Biennale (2005), “Airs de Paris” (with Christine Macel) at the Centre Pompidou (2007) the 2nd Yokohama Triennial (2008), and “Zero” (with Tijs Visser) at Martin-Gropius-Bau in Berlin (2015). In 2009 he was director of the 53rd Venice Biennale.
Birnbaum co-authored ‘Spacing Philosophy: Lyotard and the Idea of the Exhibition’ with Swedish philosopher and professor Sven-Olov Wallenstein published by Sternberg Press in September 2019.
Kaws
-Interest in accessibility
-Interested in accessible figurative imagery
-Saw the graffiti worked as quite niche, wanted to make work that spoke to more then just those in the graphite world – this is why he started branching our from tagging to creating characters.
-Looking for mechanisms to display his ideas
-Accepting partnerships/ collaborations with brands very early
-A question of what is real/fake, original/commissioned begins
-Commercial v “Fine Art”
-Took an opportunity to make toys – brought him into 3D and economic viability
-Not a fine art background
-Pop culture figure before a fine artist
-He doesn’t like being in one box
-Interested in working in new medium ect.
Excellences & Perfections – Amalia Ulman
Making work online so as to comment on online culture.
https://rhizome.org/editorial/2014/oct/20/first-look-amalia-ulmanexcellences-perfections/
- She pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. Other elements of the makeover were not feigned; she followed the Zao Dha Diet strictly, for example, and went to pole-dancing lessons often.
- Through judicious use of sets, props, and locations, Excellences & Perfections evoked a consumerist fantasy lifestyle. Ulman’s Instagram account is a parade of carefully arranged flowers and expensive lingerie and highly groomed interiors and perfectly plated brunches. These images are excessive, but also believable—because they’re so familiar. For many privileged users, social media is a way of selling one’s lifestyle, of building one’s brand. And Ulman went to great lengths to replicate the narrative conventions of these privileged feeds, from her use of captions and hashtags (#simple, #cutegasm), to the pace and timing of uploads, to the discerning inclusion of “authentic” intimate or emotional content (a photo of a lover or a moment of despair).
