DSDN171: Blog 5 - Locovisual

            Underground Tattoo and Arts Studio, on the corner of Vivian Street and Victoria Street, is a multicultural building, mixing Neo-classical style architecture with Modernism, while being influenced by native Maori designs. The columns are painted onto the building rather than architecturally designed into them emphasising the modernist aspects of the building. The columns, similar to the Angular Greek Corinthian style with necking on the Vivian Street face and more basic Doric style on the Victoria Street face has been modified by Maori style designs. Demetri Porphyrios (1987) describes the classical style as "Classicism is not a style, but a tradition that has evolved from and co-existed with the vernacular. It is a living tradition open to adaptation and interpretation, and responsive to region, climate, nature and culture." This explains that any style can influence classicism and force it to adapt similar to how the Maori patterns and designs adapt the style of the Corinthian column.

            The Maori patterns replace the Greek design on the columns, personalising it and adapting the Classical designs; traditional styles and patterns are made in the Maori design which links it to the Maori culture in New Zealand. The decoration on the Victoria Street face of the building incorporates a Taniwha; a mythological creature from native historical Maori stories that was believed to be proctective guardians of people or places or a dangerous predator that kidnapped women. This influence from Maori culture creates an effect that is unnatural for a building. The combination of Classicism and Modernism is an unnatural blend; with the inspiration of New Zealand native Maori designs making the building appear a mismatch of designs.

Jorgensen, L.B., & Porphyrios, D.(1987) Vienna Parliament. Neoclassical architecture in Copenhagen & Athens, 57, 63-68.

Barrow, T. (1923) An Illustrated guide to Maori Art, Auckland, N.Z. Reed (1995)

DSDN171: Curatorial - Blog 4

“Growth is a spiral process, doubling back on itself, reassessing and regrouping.”

 Julia Margaret Cameron

Spiral Reconnection creates a fluid flow from basic materials, making the shapes of waves that crash to a single point then spirals around and connect back to a central point. Constructed from a wooden dowel rod, the central point acts as a base for the plastic spiral that flows from three points.

The plastic flows from the fixed positions connect together then spin round to connect back to the central section once again. The spiral that is created in the model is emphasised by the quote by Julia Margaret Cameron “Growth is a spiral process, doubling back on itself, reassessing and regrouping.” This explains the spiral process as growth. Like Spiral Reconnection, the spiral doubles back on itself to reconnect to the dowel. Also, Cameron states that for growth, it needs to reassess and regroup. The model regroups again in the middle and reassesses its composition, changing the path of movement.

Fluidity is created through the curves made by a cloudy plastic material. The materials used to create Spiral Reconnection reflect the material used in the precedent images Wire Chair by Bertoia was a strong influence in the overall model. The stand that supports Spiral Reconnection and keeps it upright uses a hook to attach it to the dowel rod. Style and process is reflected in the wire chair. Hooks and bends were used to connect the leg frames to the seat of the chair.

           

           The other precedent that influenced Spiral Reconnection was an unnamed table in the Frankfurt Airport. The precedent table appears to be like a propeller, which has been reflected in model effectively. By having three parts spiralling from the central point, there is influence from the precedent table. The dowel rod was influenced by the wooden  precedent table. 

 Waters. J.K. c.2003. Blobitecture: Waveform architecture and Digital Design. Rockport Publishers, Gloucester.

Harry Bertoia Bird chair and ottoman, by Knoll, 2011. http://www.stylehive.com/bookmark/harry-bertoia-bird-chair-and-ottoman-by-knoll-155425. StyleHive, Inc

Quote received from: Brainyquotes, 2001. http://www.brainyquote.com/quotes/keywords/spiral.html. Bookrag Media Network

DSDN 171: Antiques Hunter - Blog 3

This lipstick holder is an example of a French Rococo revival dated back to the 1930s by the seller on Trade-Me. On oxfordartonline.com the French Rococo revival style was described to be between the 1820 and 1870s, in Europe and predominantly France. This is dated nearly a century before the Trade-Me description. 

The description states that it is brass filigree, defined on merriam-webster.com/dictionary/ to be “ornamental work especially of fine wire of gold, silver, or copper applied chiefly to gold and silver surfaces”. The use of gold and silver filigree indicates that there is some resemblance to other Rococo works such as the Table With marble top (Gilt lime-wood, France, cc 1750). Though this example uses a different method and material, the level of ornament and decoration that is shown on the table and the lipstick holder has similarities.

The material used to create the Lipstick holder was brass wire, which was twisted together and then flattened. The immense detail in the filigree that is put into the upper section of the lipstick holder is abstract and does not show the purpose of the item. The holder looks more like a decorative piece by looking like a set of tulips, which would look impressive sitting on a dresser. The emphasis on the Rococo style is shown through the elegant brass appearance, which makes it look nearly gold, similar to the original French Rococo architecture and ornaments. Despite the similarities to the Rococo style, the Lipstick holder is symmetrical which contrasts the asymmetrical style. That could be influenced by the different date that it was made, which built a separation between the two styles.

Table with Marble Top, http://www.vandeven-antiquairs.com/cgi-bin/VDVpageENG.pl?type=viewpage&id=145

Hornstein, L. 1996. Filigree information, Retrieved from: http://www.ganoksin.com/borisat/nenam/filigree1.htm

Webster, M. 2012. Filigree definition. Retrieved from: merriam-webster.com/dictionary/

Smentek, K. (2007) Rococo exotic : French mounted porcelains and the allure of the East. New York, Frick Collection. Decoration and ornament, Rococo--France--Exhibitions.

Trade-Me item: http://www.trademe.co.nz/antiques-collectables/art-deco-retro/fashion-beauty/auction-466540694.htm

Schall, J.F. (2007) Rococo Revival. Retrieved from oxfordartonline.com.helicon.vuw.ac.nz/subscriber/article/grove/art/T072560

DSDN 171 - Blog 2: Research Statement and Annotated Bibliography

Altermodernism (Portmanteau word comprised of Alternative and modernism) is a current art movement that is in reaction to commercialism and standardisation.

Single Author Book

Relational Aesthetics by Nicolas Bourriaud looks at the consumerism and commercialism aspect of the altermodern movement. He reveals the principles that structure their thoughts and talks about how their work relates to the Altermodern movement. This could be useful for a more in-depth view into the Altermodern style and principles.

Edited Book

Nicolas Bourriaud collaborated essays and contributions from a group of different art historians, artist and philosophers in his book Altermodern to provide information about the movement. He provides statements such as “Altermodern works are on the cutting edge of contemporary art and thought.” This would be useful for certain background information.

Journal Article

The journal article Altermodernism: Tate Triennial 2009 written by Charlene Lau is an article that informs about the general ideas and styles of Altermodernism. General information such as “Altermodernism attempts to free itself of postmodernism's strangle- hold” (Charlene Lau, 2009) is provided in this article to give an effective background.

Website

The website (Birth of Altermodernism [BOA], 2010) is an online magazine article that questions whether postmodernism (Movement that occurred previously to Altermodernism) is really dead and the world has developed into the new style, Altermodernism. The article gives a fresh perspective on the Altermodernism movement in comparison to recent movements.

Image

The Image Giantbum by Nathaniel Mellors shows a trio of animatronic heads that are connected to frames and have speakers and cables joint to the back of the skull. They provide an example of the historical research subject that helps to identify the style of images that is present in Altermodernism.

Book: Bourriaud, N. (2002) Relational Aesthetics. Paris. Les Presses du reel.

Edited Book: Bourriaud, N. McCarthy, T. Demos, T.J. Holler, C. Enwezor, O. (2009) Altermodern. Tate Publishing.

Journal Article: Lau, C. (2009) Altermodernism: Tate Triennial 2009. C Magazine 102. 52-53

Website: Birth of Altermodernism (2010). The Post-postmodern issue. Retrieved from http://www.adbusters.org/magazine/88/birth-of-altermodern.html

Image: Mellors, N. Giantbum (2009) Tate Triennial, Altermodern.

Design Personae, DSDN 171 - Blog 1

 Hi, my name is Mark Lindsay. I'm originally from Palmerston North and have lived there my entire life, so the move down to Wellington has been a new experience for me. I attended Palmerston North Boys High, where the subjects Design, Graphics and Art History reinforced my love for designing and art and really made the desire take hold. I have drawn since i was young, along with other hobbies such as Horse riding, guitar, rugby and medieval re-enactment, but not like in the film Role Models (as so many people compare it to). It is with real metal weapons and sometimes ended in serious injuries ranging from broken fingers so punctured lungs.

http://www.dpi-graphics.com/

My long-term love for art and my vivid imagination that made the pictures I drew unique and different (my most recent work a Tyrannosaurus Rex with a cyborg tank on its back) was inspired by the discovery of Kai Spannuth, a German design that created characters and designs by combining multiple elements and the end result appears mutated or different (Image on the left was made by combining two of his other designs, Roughneck Rabbit and cyborg version, Roughneck Rabbit Recovered). I aspire to design with a similar skill to Spannuth, and I find the imagery he uses very interesting. 

His work  both inspired me and made me aspire to think outside the box and create images that haven't been reproduced time and time again. This love for the arts and creativity influenced my decision to go to design school.The desire to apply my creative mind to society and real-life situations influenced my decision as well.