Monthly Archives: November 2011

7 sins


There is no reason you should not enjoy your own genuine abilities and genuine achievements. “Pride” is not a sin when it merely involves taking satisfaction in a job done well — nobody ever hurt anybody else over this. But we make ourselves and others unhappy by demanding attention and recognition, or by not asking for help and guidance when we need it.


 Everybody knows how miserable we make ourselves when we compare ourselves unfavorably to others. Perhaps we learn to do this when our parents try to influence our behavior by making comparisons with kids that they want us to be like. And it’s human nature to want what others have, especially when we consider ourselves better-qualified and more deserving.

Envy is always painful (unlike pride), and it’s caused many people to do horrible things… and even to be pleased that they have done so.


Wrath, like envy, has a lot to do with what’s wrong in our world. And it’s not confined to egalitarian societies. Now, communities do not have to be passive when they are wronged. Usually there are laws to help us, and democracies seem to be respectful of the legitimate interests of their minorities. But people may define themselves in terms of their individual or group hatreds.

We all get angry. We need to be able to do this in order to survive and to communicate.


Traditional depictions of sloth are laziness, the person who doesn’t do his or her job or attend to the household needs.


To always want more of everything nothing is ever enough.


Better known as addiction these days.There is no need to explain how addictions of all kinds hurt those around the addict. The usual cure for an addiction is another addiction.The good addictions are as much fun as the bad ones, and are much better for me and those around me.


In Dante’s story about the ascent to heaven, he discovers that some souls avoid some of the deadly sins, but that every adult does at least some penance for sexual misbehavior.Only a few religionists insist that all sexual expression be within marriage and only for the purpose of bearing children. But many (not all) forms of sexual expression are likely to hurt people. Today we’re told (wrongly, I think) that we’re not complete, fulfilled people if we do not “get our loving”, or that we do not need to love responsibly.

Why am i looking into the 7 deadly sins – because this has a huge part in my semester 1 brief and also the issues of todays society e.g. the riots happened recently this would have been fuelled b a sin.

inspire me

“In their work the artists incorporate aspects of architecture, design, and sculpture to create installations and drawings that “negotiate the space between the functional and the nonfunctional,” where they derive their “inspiration from the physical world” and express their interest in the intersection of art and society in a humorous manner.”

This really intrigues me the space between functional and non functional space, when does a piece of design go to far to the point where the function becomes purely pointless.?

“Currently on view at Sean Kelly Gallery is the project Rumba Muerta by artist duo Marco Castillo and Dagoberto Rodriguez a.k.a. Los Carpinteros.  The duo was formed in 1991 (along with then-collaborator Alexandre Arrechea) and the artists choose to work under the name Los Carpinteros in order to renounce the socially problematic ideology of individual authorship.  Instead, the collective name evokes the cultural tradition of skilled artisans—in this case, carpentry.  Indeed, the notion of craft is crucial to their practice, as is that of design.  With Rumba Muerta Los Carpinteros incorporate aspects of architecture, design,  and sculpture to create installations and drawings which seek to negotiate the divide between inhabited spaces, social consciousness, and non-functional art objects.”

A divide between inhabited spaces the social consciousness of the inhabited space and fitting non functional art methods into these.

Have i just found my brief?

. First find and inhabited space that we are socially connected to  then to create a social connection using the theories of modern art.

.Client general public to begin with to create social interaction

The NON-OBJECTIVE world – South bank centre

“The term “non-objective” refers to paintings and sculptures which contain no representational subject matter and are created from purely pictorial elements rather than deriving from the world of natural appearances”

“The term “non-objective”describes art which has no representational subject matter and is created from purely pictorial elements.”

(Pg7, the non-objective world)

Abstract Utopia

“Such terms are intended to distinguish the complete absence of representational subject matter from the process o “abstracting”, or artistically transforming a legible image….

This dual sense of abstract is confusing, critical labels are not very helpful when it comes to confronting particular works…..

Such formal appreciation requires no background knowledge and is appropriate t the highly aesthetic decisions about placement, strength of colour and so forth, that the making of the works certainly involved, no with standing their “mathmatical”look…

Ever since antiquity itself, such quantities as older and simplicity have commonly been invested with more metaphorical references.”

“abstract art  were at pains to emphasise, in their extensive  theoretical writings, that pure forms and colours constituted a more effective means than legible imagery to communicate ideas and emotions to the viewer”

(Pg 10, The non-objective world)

“The new art is founded not on a subjective, but on an objective basis. This, like science can be described with precision and is by nature constructive. It unities not only pure art, but all these who stand at the frontier of the new culture. The artist is a companion to the scholar, the engineer and the worker.”

(Pg 23, The non-objective world)

“You cannot build a new society without artists. The artists are waiting for their opportunity: abstract artists who are, in this tune of transition, perfecting their formal sensibility, who will be ready, when the time comes, to apply their talents to the great work of reconstruction.That is not a work for romanticists…..communism is realist scientific, essentially classical.”

(Herbert Read pg 28, he non-objective world)

Henry Moore wrote

“The violent quarrel between the abstractionist and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements – order and surprise intellect and imagination, conscious and unconscious. Both sides of the artist’s personality must play their part”

(Pg 31, The non-objective world)

Book circle”internatinal survey of constructive art” 1937

“The book contained work and writings by virtually all the leading architects and artists of the international “constructive trend”. For all its optimism, circle as, in a sense, the swan song of the artistic direction encapsulated in this exhibition. Individual artists carried on, of course in the same vein,and, as a “style”, geometric abstraction has remained one significant option amongst many on the post-war scene. The extreme and uncompromising character of the work of the pioneering generations remains a compelling inspiration. Yet in terms of their own motivations, their art cannot be understood in isolation from utopian deals which have com to seem increasingly remote, especially now, in the era of the final demise of communism. intimately, looking at this type of art also entails an imaginative leap into the historical moment of its creation.”

(Pg31, The non-objective world)

A painters view – Adrian Heath

“I longed to see some original work,but i had to wait ten years until Bryon  Robertson brought a retrospective of Malevich to the whitechapel in 1959. Today the situation is very different; no young painter need feel himself  deprived of knowledge about any artist of distinction.”

(Pg35, The non-objective world)

sculptures view, Richard Deacon

“Space and material substance are covalent (not equivalent since neither replaces the other).”

(Pg 39, The non-objective world)

Non objective – In english this term has often been used to denote the complete absence of legible subject matter in a painting of sculpture, in preference to the more ambiguous “abstraction”, with its connotation of simplifying or in some other way transforming an observed or imagined image. It deserves from the Russian “Bespredementoe” as used  by Malevich and the German “Gegenstanlose”. Both more literally mean “objectless” or “without objects”, implying the creation of a work of art from pure pictorial elements rather than from objects derived from the world of natural appearances. It is not associated with any particular group of artists or period in art.

Reading this book it has revealed to me that throughout history art has been created purposely not having a theory or method behind it but id produced to be purely aesthetic. I like this thought in a way because it is not projecting someone elses views onto you it is purely a piece of design for you to have without any politics or issues being portrayed, it somehow gives freedom back to  the art.

However for now i am focusing mainly on work with the methods behind the art, so that looking into the problems we face with social society and modern spaces. Creating designs to change the way we design and think about art. Maybe for design no methods and complete blank thoughts are what need to be produced to help social society.

Art & Design – The post-modern object

You rush around and take two seconds for a coffee, but those moments imagined, are the anchors which make it possible for us to survive.That is the price of our modern condition.

     We must have that memory and tradition, even if it has become its own myth, if we are to survive in the present.” (Robert Stern at the lecture in Verona)

pg 1 Art and Design – the post-modern object

“The objects designed by some of the most influential of post-modern architects and designers reveal post modernism’s characteristic concerns with ornament, symbolism, colour and a re-assertion of the value of tradition.”

(Pg 2, Art and Design – the post-modern object)

“The contemporary cultural fascination with the designer object and the aesthetic transformation of common functional objects are among the factors influencing the advance of post-modern design….”

(Pg 2, Art and Design – the post-modern object)

“We must recognise the abstract nature of the essential element in art and we must recognise that design is a function of the abstract artist.”

(Herbert Read,Pg 2, Art and design – the post-modern object)

“Hans Hollien is a designer with an eye for display, he is aware both of the ornate and decorative in interiors such as that of the schullin jewelry shop, and of the potential of symbolic forms and detail in interiors.”

(Pg 84, Art and design – The post-modern object)

“Most functional objects are designed to disappear,mentally if not physically, and this is as it should be according to the most enlightened doctrines of Adolf Loos and Le corbusier.”Equipment” as the latter christened utilitarians objects shouldn’t make unnecessary demands on our time and consciousness. It should be used and thrown out when no longer functional, or replaced by more efficient inventions.”

(Pg 63, Art and design – The post-modern object)

The gymnastics lesson – Hans Hollien

“Like my other installations, Die turnstunde (the gymnastic lesson) is a metaphorical representation of how i see the world and life. It must be experienced, as it can be described in only a limited way. The allusions and associations it contains refer to basic human situations but also to manifest expressions of our cultic a cultural heritage. references to my on work and life are also present, as are reminders of “images” and “places”. things experience and things dreamt. The Dream room is the stage for a complex play between human and apparatus acted out within a defined space. The human figure the vectile for basic postures which show the symmetry of the body’s cultic and ritual communication. From these basic presences and presentations of the female body,eroticism and sensuality are built up to sacred dimensions, both in the sculptural figures and in the drawings accompanying the installation…..”

” The installation is an integral part of the room it sands in addition to the basic positions, a further dimension and ordering arises from the fact that both the room (enclosing space) and installation are by the same person.” 

“The media are body and light, the materials are wood and metal, white paint aswell as gold and neon tube lighting. The light and the glow are radiance nd reflection halo and mater, sun and old. Everything that i grasp in my hands i n the form of neon tubes, skin, flesh, leather are in gold. he pieces of apparatus contain within them a propensity for transformation the rings the ladders, the vaulting horse. An outsized double ladder insurmountable – becomes a tower.”

(Pg 80,Hans Hollien, Art and design The post-modern object)

Reading this book it is dated around 1987 and even then the contemporary designs we have around us now were being projected and starting to begin then.

It became popular and fashionable that architects had a dabble in all areas of design. Making them more versatile in which area they specialised in – for example when creating a piece of architecture, feature the ornate aesthetics into the building as you would to a piece of furniture, and vise versa when designing a piece of furniture include the structure and stability that you would to design a building.

Throughout the book Alessi designs are dominant and complimented. I think Alessi designs were the big movement especially when they got the architects involved to create a tea set. They set off the trend that architect’s design in home products.

To date Alessi designs still influence modern designs. They produce modern functional equipment but design them so they are very aesthetic, to be shown around the home as a piece of functional modern art.

Even ten art and the desire to be new and individual was rivaled throughout designers, and this continues to date, the competitiveness of being individual and have your own unique work to inspire yet still be understood by all.

Will this trend continue?

With out including technical advances such as 3D,4D and digital interaction is there anything new to do with design and art.

 Each design and piece of art have its own theories, but can ne ones continue or are we reusing methods and putting a new face to it? Each issue globally has had many interpretations made, but how many interpretations will be designed before it gets predictable?

Or is design going to fade into technology will the craft disappear and art ill no longer be personal but purely designed through machines. If this is the future i do not look forward to the art and design of the future. Do we return to our traditional ways of art so we do not lose this personal skill forever, or do we continue this modern predictability?


My research is focused more on Los carpinteros at the moment as their work amazes and inspires me. Here are some examples of their inspirational designs.

create your own skyline

BYB is a Brooklyn based company that designs pillows featuring original photography of buildings, including apartment buildings and businesses. The idea is so that everyone can choose the designs and colors that inspire them and then build a custom street on their bed or couch.

                   Designer: Patrick Chirico (United States)

Inspired By: Brooklyn brownstones and bodegas


favourite interior designs of the day

My favourite design for today is….The dark cold textures used on the walls and flooring is bursting with warmth from the vibrant bathroom vanities. The glossy pink and white material soften the dark grey tiles. The floral design imprinted on the walls and floor connect the design throughout the room. Thus giving the room a bold statement of a design.

Gabriel Orozco at Tate Modern

 “Much of the work is travel inspired, and an obvious appreciation of world and native art methods is what gives much of his work its substance. His use of found items is reworked again in “Chicotes” which is comprised of burst tyres found on roads in Mexico. Whether intentionally formed with this in mind, or whether by chance, we immediately drew comparisons with Cornelia Parkers “Thirty Pieces of Silver” which is also housed in the Tate Modern. Yet again it is an apparently chance meeting of form and order, with Orozco providing an everyday counterpart to Parker’s otherworldly, dream-like silver.”

link to full article

The comparison

 “Another wonderful piece by Cornelia Parker was her work called “30 Pieces of Silver.”  In this work she took items that someone might use everyday such as, forks, plates, and other pieces of silver and then she went to the extreme of having it all rolled over by a steam rolling.  She displayed the items in 30 different circular forms and had each suspended from the ceiling.  These 30 circular forms of silver take up an entire room.  The ideas that she comes up with are amazing, as well as the meaning behind each of her works.  In this work she took something that had so much use and wealth associated with it and then she completely destroyed all that meaning by taking away the value of the objects.”


Both pieces of these artwork are excellent examples of what my project is about surely these pieces can be more practical and useful to modern design rather than just being an exhibit piece. If exhibit pieces could be used after show surely this would be more practical and each piece would become unique one of a kind.

An Understanding

To go in-depth with analysing the art work one has to understand art work and the networking side of the artworld.

  • “Value of an institutional approach to understanding the Artworld
  • Provides a way of describing the social and economic conditions that make art possible today.
  • Can be plugged into a complexity or systems model like mediology.
  • Opens up analysis of the art work itself as being constituted by a complex field of forces that are not visible in art object itself, but are the grounds of possibility for art to appear for us at all.
  • A constitutive, contingent, and interdependent view.
  • Situates art, art making, art exhibition, and the art market in a large social and economic field of interdependent communities of social actors, whose exchanges and working agreements constitute the art world as such.
  • Removes solitary individual agency (artist, art viewer) from the question of art (what is art? how does a work become art? does it have to be good to be art?).

The art world is a social and economic network, and, like all networks, has externalities or network effects that create more incentives to be connected to the network than disincentives to remain disconnected”


Art Theory Contexts

Art theory shift since late 1970s toward semiotics, cultural theory, and pan-humanities critical theory

  • Academic pan-humanities-social science theory becomes part of the professionalization of artworld careers: curators, art historians, critics.
  • Identity politics theory wave from early 1980s-mid 1990s (race, class, gender theory; feminisms).
  • So-called “culture wars” debates in public-funded art and political alignments of artists and artworld (1970s-early 1990s).
  • Question of the “state of the arts today” is largely overdetermined and generated through an institutional context and a universe of discourse used to pose questions and posit answers.

Semiotics, intertextuality (intermediality) and the current art scene

  • Differentiating synchronic (concurrent relationships) and diachronic (historical narrative) analysis, art in social and economic relations
  • Meaning viewed through semiotic model of differences and oppositions that structure the possible cultural significance of work
  • Viability of the “semiotic square” of oppositions and differentiations in analyzing art in a social context: network of relations is more complex than simple oppositional model.
  • Intertextuality: a model for “intermediality”: art making and art interpreting in contexts of prior work, traditions, codes, and values assumed by interpretive community.
    • Intertextuality refers to the network of content and code interdependencies for meaning, prior and concurrent works presupposed for the intelligibility of the work being viewed
    • What do the art works themselves and the “communities of practice” or “communities of reception” unconsciously presuppose about prior and contemporary work through which (and only through which) the work is intelligible?
    • A text is intelligible only through “a mosaic of references and quotations that have lost their origins” (Kristeva’s definition of intertextuality). Art works are similar in mosaics of implied references and responses.
    • What is already encoded, part of a cultural encyclopedia, prior to anyone’s interpretation (Eco).
  • Now we have “intermediation” (all media, beyond intertextuality): network of presupposed prior and contemporary works through which anything is interpreted.
  • Semiosis: art works in ongoing chain or dialogue of interpretations and responses; meaning produced through semiotic structure like language and other symbolic forms.
  • “The interpretation of a text will always take the form of another text.” (Eco)
    • Translated to art: “The interpretation of an art work will always the take form of another work.
    • New works as interpretations of prior or contemporary works (semiosis).

Applied mediology

  • status/role/function of the material art object in a digital and post-Internet world
  • social value of the “dematerialized” media of video and digital multimedia


Los Carpinteros you are slowly becoming my favourite ..


And again Los Carpinteros you amaze me with this unusual art.