The stunning steel and ceramic sculptures by Johnson Tsang

The stunning steel and ceramic sculptures by Johnson Tsang
Modern Art

The steel and ceramic sculptures by Johnson Tsang have already become popular worldwide. The talented artist from Hong Kong who specializes in stainless steel sculpture and ceramics and has worked extensively with the production of art in the public space. In the “Splash of Wonder” Tsang collection combines the sculptural medium of sculpture and sculpture with his surreal imagination.

Amazing Modern Art – sculptures in steel and ceramic

Design

The steel sculptures and ceramic froze movement at exactly the right moment. Starting point for the design was the integration of two elements – people and objects that blend into an extraordinary concept. Their feelings can immediately recognize the faces of people. Love, however, occurs as a leitmotif. The photos were taken in a dark room, which caused strong contrasts. The collection can be described in two words – simple and ingenious.

Abstract steel sculptures and ceramics

Since 1993, the artist was widely acclaimed his work in Hong Kong, Taiwan, Korea, Spain, Switzerland, etc. issued. Some of his steel sculptures and ceramics museum exhibits are made, others belong to the collections of private collectors.

A result of a creative work, creativity and attention to detail

The stunning steel and ceramic sculptures by Johnson Tsang

Ceramic roses

The stunning steel and ceramic sculptures by Johnson Tsang

Ceramic mug inspired by Kiss

The stunning steel and ceramic sculptures by Johnson Tsang

White ceramic sculpture

The stunning steel and ceramic sculptures by Johnson Tsang

Miniature ceramic

The stunning steel and ceramic sculptures by Johnson Tsang

Modern Art with a speed of strong effects of Photography Johnson Tsang

The stunning steel and ceramic sculptures by Johnson Tsang

Freeze movement

The stunning steel and ceramic sculptures by Johnson Tsang

Appearance liquid

The stunning steel and ceramic sculptures by Johnson Tsang

Collection “Splash of Wonder”

The stunning steel and ceramic sculptures by Johnson Tsang

Avant-garde and eccentric metal sculpture

The stunning steel and ceramic sculptures by Johnson Tsang

Syringes steel shiny futuristic look

The stunning steel and ceramic sculptures by Johnson Tsang

Sculpture “Yuanyang”

The stunning steel and ceramic sculptures by Johnson Tsang

Frozen splash

The stunning steel and ceramic sculptures by Johnson Tsang

Source
https://www.ofdesign.net/interior-design/the-stunning-steel-and-ceramic-sculptures-by-johnson-tsang-1780

THE FACADE COMMISSION BY WANGECHI MUTU

https://westharlemartfund.files.wordpress.com/2019/09/the-new-ones-will-save-us_marquee.jpg?w=1520&h=720&crop=1https://westharlemartfund.files.wordpress.com/2019/09/restricted-2.jpgKenyan-American artist Wangechi Mutu has been selected to create sculptures for The Met’s Fifth Avenue facade niches—the first-ever such installation on the Museum’s historic exterior—inaugurating a new annual artist commission series. The works will be unveiled on September 9, 2019, and be on view through January 12, 2020.

The museum’s facade niches have remained bare since its inception in 1870 not for aesthetic reasons, but for budget restrictions. “they ran out of money [back then],” said Max Hollein (the Met’s Austrian director) in an interview with W magazine. Kelly Baum, the Met’s co-curator, added: “There’s the little matter of female power in the context of the Met’s male-dominated past. There’s some drama there, which I appreciate.” This installation is part of a new series of contemporary commissions at The Met in which the Museum invites artists to create new works of art inspired by the collection, establishing a dialogue between the artist’s work, the collection, the space, and audiences.

For The Met’s facade, Mutu has created four bronze sculptures. They are known individually as The Seated I, II, IIIand IV. As a group, they bear the title The NewOnes, will free Us. As with all of her work, Mutu’s sculptures engage in a critique of gender and racial politics that is as pointed as it is poetic and fantastic. With The NewOnes, will free Us, the artist has reimagined a motif common to the history of both Western and African art: the caryatid, a sculpted female figure meant to serve as a means of either structural or metaphorical support. Whether carved out of wood for the prestige stool of a West African king or chiseled out of marble for a building on the Athenian Acropolis, the caryatid has always been confined to her role as a load-bearer. For her part, Mutu stages a feminist intervention, liberating the caryatid from her traditional duties and her secondary status. Mutu does so, moreover, in the context of a neo-classical façade whose original architects sought to convey a far more conservative set of values.

Born in Nairobi in 1972 and trained in sculpture at Yale, from which she received her MFA in 2000, Wangechi Mutu is one of the most distinguished artists of her generation. She has achieved critical acclaim for her haunting, otherworldly collage-paintings, art-films, live performances, and sculptures. Comprised of either bronze or organic materials, Mutu’s three-dimensional work depicts formidable figures referencing modern and classical mythologies that conflate histories and sculptural traditions of Africa and Europe. Like her collage-paintings, Mutu’s sculptures reflect critically on social and ecological injustices and inequalities. Female transformation and empowerment are at the core of all her ideas and evidence in the completed work.

via THE FACADE COMMISSION BY WANGECHI MUTU

Incredible photo manipulations by Tekin Tyure

http://nevsepic.com.ua/fotografii-i-fotoraboty/29032-neveroyatnye-manipulyacii-s-fotografiyami-ot-tekin-tyure-63foto.html

https://i0.wp.com/cp16.nevsepic.com.ua/post/13/117_files/bc7bbbb4cfae60ead2fab4b9a23fb43d.jpg

 

 

 

 

 

J.R.R. Tolkien Links — Biblioklept

The Hobbit Is a Picaresque Novel I Compare the First Three Books of George R. R. Martin’s A Song of Ice and Fire Series to Tolkien’s work “I Have a Very Vivid Child’s View” — A 1967 Interview with J.R.R. Tolkien J.R.R. Tolkien, In His Own Words (1968 BBC Documentary) Tolkien Cover Gallery “I Rarely Remember a Book About Which […]

via J.R.R. Tolkien Links — Biblioklept

Barnacle.

she might have loved… someone else

Originally posted on power of h Weblog: bad breakup ? by David Halliday

via she might have loved… someone else — power of h Weblog

The Reunion

Picture diary, 26.10.2012

Silvia Krupinska - Organic Contemporary Sculpture Blog

This is my smallest plaster sculpture to date (6 cm across). Work in progress.

                                                                      © Silvia Krupinska

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New lowfire body.

Debra Fleury

Debra Fleury, Bone

Debra Fleury, Bone

White 04-06 clay with talc. Enjoyable to the touch. Forgiving, unless you beat it up. I’ve been pushing the temperature a bit. I like how it gets warm and creamy at cone 1. There is a price to be paid for this, though.

This piece is approximately 20″ long. Inspired by skeletons, shells, and artifacts revealed by digging.

: debra :

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Engulfed.

Debra Fleury

Debra Fleury, ceramic. Pair

More shell inspired work, with a dark side and a dash of hope. I’ve been feeling a lot of empathy for the ocean creatures.

: debra :

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Ballet Class, the Dance Hall — Edgar Degas

Sinestezija

Vizualizacija muzike preko ogleda sa peskom, vodom, vatrom, feromagnetizmom i plazmom. Sinestezija, ili zajednički osećaj – percepcija pri kojoj uporedo uz bazične osećaje, doživljavamo i one drugačije, nespecifične za čula.

Primer  sinestezije može biti da čujemo boje ili šum mirisa.

Režiser iz Njujorka Shahir Daud i muzičar Nigel Stanford stvorili su video na osnovu auditorne sinestezije – sposobnosti da “vidimo” muziku preko vibracija predmeta i supstanci. Svi ogledi u videu su realni i kreirani su pomoću Chladni ploče, feromagnetne tečnosti, plazma sfere, Rubensove tube i Teslinih kalemova. Nadam se da Vas rezultat ovog audiovizuelnog doživljaja nije ostavio ravnodušnim.

Još malo obojenog zvuka

Art performans umetnika Kenichi Kanazawa prikazuje vidljivi zvuk. Ova zanimljiva vizuelna demonstracija u kombinaciji Chladni ploče, četiri gomilice različito obojenog peska i gumene lopte čijim se trljanjem po vibrirajućoj ploči dobija efekat šare od peska. Kako se menja veličina gumene lopte tako se menja odnosno pojačava frekvencija, smenjuju se šare jedna za drugom, i bivaju sve kompleksnije.

Ovaj film je snimlјen u toku fotografisanja Otona no Kagaku magazina za decu/Kaleidoscope of Sounds issue, časopisa sa poklonima.

Nešto lepo

Lepo je voleti! Lepo je sve što je malo. Lepo je biti nekome nešto. Lepo je da deliš sa drugima. Lepo je biti dete.

https://i0.wp.com/www.peacefuldumpling.com/wp-content/uploads/2014/08/47564141_e969179ad8_z.jpg

 Lepo je otvoriti oči i jednostavno znati da si blizu. Lepo je živeti, životariti je naporno. 

maslacak

Lepo je kad nekog želiš, u srcu ti muzika svira i ono treperi. Lepo je ono što je ljupko, zar ne? Lepo je kad sanjamo. Lepo je kad vidiš da si štogod uradio. Lepo je imati.

https://i0.wp.com/www.trcanje.rs/wp-content/uploads/2012/10/parnaveceri.jpg

Lepo je nemati i nemati znati. Lepo je biti pustolov, ali nije lako. Lepo je kad sanjariš o nečemu i jednog dana to zaista ostvariš. Lepo je osmehnuti se.

two

Lepo je dati pre iskanja. Lepo je nemati, sanjati, čekati.

Medieval Selfies

Self-portraits of medieval book artisans are as exciting as they are rare. In the age before the modern camera there were limited means to show others what you looked like. In the very late medieval period, when the Renaissance spirit was already felt in the air, some painters made self-portraits or included themselves in paintings commissioned by others. Stunningly, the medieval painter Jan van Eyck showed himself in the portrait of Giovanni Arnolfini and his fiance: he is staring at you from the mirror that is hanging behind the couple. For those who still didn’t get it, he painted above it Johannes de eyck fuit hic, Jan van Eyck was here” (Fig. 1, more here). He added the date 1434 to the picture, making it a particularly early selfie.

Jan van Eyck, Giovanni Arnolfini and his fiance, 1434 (right) and mirror detail (left)
Fig. 1 – Jan van Eyck, Giovanni Arnolfini and fiance (right)  and mirror detail (left)

As far as producers of books is concerned, there were only two kinds of artisans who handled a tool with which a selfie could potentially be produced, if the individual was so inclined. Scribes could doodle themselves using ink and pen; and decorators could do the same with brush and paint. In practice, however, we almost exclusively encounter self-portraits made by decorators, perhaps because scribes lacked the skills and equipment to produce something meaningful. Even so, decorators rarely put themselves in the picture. The exceptions to this rule are real treats, as this post aims to show: they provide sneak peeks into the workshops of medieval artists.

Monastic decorators
When a decorator is seen on the page, we must assume that a conscious choice was made to become part of the book’s decoration program. This is particularly evident when the decorator added his or her name and designation (“decorator”). This is precisely what the nun Guda did: she depicted herself inside an initial letter D with a banderole (title banner) that reads “Guda, sinner, copied and decorated this book” (Fig. 2). It seems out of sync with the modest life style of nuns to identify oneself with name and title. Pride was a vice so there must have been another reason behind Guda’s self-identification. Perhaps she did so with a sense of history: she is raising her right hand as if to greet future readers.

Frankfurt, Staatsbibliothek Ms. barth. 42
Fig. 2 – Frankfurt, Staatsbibliothek, MS Barth. 42 (late 12th century)

In spite of this very expressive scene, Guda’s selfie does not give away too much about the medieval artist’s workshop. In fact, if it wasn’t for the words on the banner, we would not have guessed that she was a decorator. Where are the paraphernalia of the trade? Fortunately, there is another example that provides more detail about the working environment of monastic artists (Fig. 3). This image was produced by Rufillus, monk in Weissenau Abbey in Ravensburg, Germany, near the end of the 12th century. In the selfie we catch Rufillus putting the finishing touches on a giant letter R. He wrote his name above his tool: there is no avoiding that we get to know him. Remarkably, in another manuscript we encounter Rufillus again. This time he depicts himself as the scribe of the book – he scribbled, oh vanity, his name above himself (Fig. 4).

Cologny, Fondation Martin Bodmer, MS 127, fol. 244r (late 12th century)
Fig. 3 – Cologny, Fondation Martin Bodmer, MS 127, fol. 244r (late 12th century) – source
Amiens, BM, Lescalopier 30, fol. 29v (late 12th century)
Fig. 4 – Amiens, BM, Lescalopier 30, fol. 29v (late 12th century) – source

Rufillus the decorator places himself in a rich setting: in Fig. 3 we see him surrounded by pots of pigment and various instruments. He provides us, in other words, with a much wanted glimpse into his monastic workshop. Moreover, like the nun Guda, Rufillus was apparently active as a decorator and a scribe, which is another important detail that can be derived from the selfie. What is most striking in light of this post, however, is the similarity of the two portraits: in both, Rufillus shows himself as having bright red hair, big eyes and pronounced wrinkles on his cheeks. The similarity strongly suggests that this is what our decorator really looked like, which is a fascinating thought.

Commercial decorators
Such detail-rich selfies are also encountered in books that were made commercially. A particularly telling self-portrait was made in 1512 by the German book decorator Nicolaus Bertschy (Fig. 5, more information here). In this portrait, which is included in the Lorcher Graduale, he shows himself in the company of his wife, who appears to be drinking from a large mug with her arm around his neck. It is not the scenario you would expect, this rather down to earth setting where drinks and female distraction replace both decorum and concentration.

Stuttgart, Württembergische Landesbibliothek, Cod. mus. I 2 65, fol. 236v (detail)
Fig. 5 – Stuttgart, Württembergische Landesbibliothek, Cod. mus. I 2 65, fol. 236v (detail)

Nicolaus introduces himself in a note beneath the image: in spite of the scene, he clearly saw no need to hide his identity. Next to him we see the scribe Leonhard Wagner (note the “LW” on the white shield), who is said to have known a hundred different kinds of handwriting (more here). The illustration shows the two artisans producing the very choirbook in which it appears, making this a selfie with a fascinating double layer.

Remarkably, a manuscript from fourteenth-century Paris also presents a selfie of a decorator and his wife (Fig. 6). It shows Richard and Jeanne de Montbaston, who worked in the second quarter of the century. In this great image Richard appears to copy the text while Jeanne is busy decorating the pages. Given this division of labour it was likely Jeanne who produced this selfie. There are many more details that prove insightful for artists’ workshops. Parchment sheets that were finished are hanging to dry on clothes lines, for example.

Paris, BnF, fr. 25526, fol. 77v (1325-1350)
Fig. 6 – Paris, BnF, fr. 25526, fol. 77v (1325-1350) – source and full manuscript source

Interestingly, in a commercial setting such selfies can be regarded a kind of advertisement, especially when a name was added. It identified, after all, who had produced the decoration – as if to say, “If you like this, you know who to contact!” It is somewhat perplexing, however, that patrons allowed artists to add put such spam in their newly purchased books – especially when showing a decorator and his wife drinking on the job.

The last word
And what about selfies of scribes? Here things are less clear. Occasionally we encounter a plain pen drawing of an individual copying. However, they are (to my knowledge) never accompanied by name and designation (“scriptor”), meaning we cannot know for sure if the scribe meant to show himself or simply drew a generic “scribe”. The drawing in Fig. 7 is an example of such unclarity: it may be a selfie, or it may not be.

Oxford, Bodleian Library, Douce 104, fol. 52v (dated 1427)
Fig. 7 – Oxford, Bodleian Library, Douce 104, fol. 52v (dated 1427) – source

Studies have shown that the writing figure is a clerk, a copyist affiliated to an institution where documents were made. As it turns out, this particular manuscript containing the text Piers Plowman was produced by a clerk. This is evident, among other things, from the way in which the dated colophon in the back of the manuscript was worded. Moreover, the marginal notation above the clerk’s head, which appears to be in the same hand as the main text, writes over the top of the drawing. This suggests it was  the scribe himself who drew it. A writing clerk drawing a writing clerk: is it enough to call this image a selfie? It’s a great conundrum that shows the limits of taking the modern notion of “selfie” to an age when cameras didn’t exist.

 

medievalbooks

Self-portraits of medieval book artisans are as exciting as they are rare. In the age before the modern camera there were limited means to show others what you looked like. In the very late medieval period, when the Renaissance spirit was already felt in the air, some painters made self-portraits or included themselves in paintings commissioned by others. Stunningly, the medieval painter Jan van Eyck showed himself in the portrait of Giovanni Arnolfini and his fiance: he is staring at you from the mirror that is hanging behind the couple. For those who still didn’t get it, he painted above it Johannes de eyck fuit hic, Jan van Eyck was here” (Fig. 1, more here). He added the date 1434 to the picture, making it a particularly early selfie.

Jan van Eyck, Giovanni Arnolfini and his fiance, 1434 (right) and mirror detail (left) Fig. 1 – Jan van Eyck, Giovanni Arnolfini and fiance (right)  and mirror detail (left)

As far as producers of books is concerned, there were only two kinds…

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Estimate your page count

img class=’alignright size-thumbnail wp-image-3010′ alt=’Estimate your book’s page count’ src=’https://fionaraven.com/wp-content/uploads/2013/07/estima

Source: Estimate your page count

Publishing a book with KDP Paperback (Beta) #amwriting #KDP

MY EXPERIENCE WITH KDP PAPERBACK PUBLISHING (BETA) There is a new option with Kindle direct publishing to add a print book along with your ebook through their site. Formerly, most people would add …

Source: Publishing a book with KDP Paperback (Beta) #amwriting #KDP

Jean Paul Donadini – Brosses Arrétées — Bizarre Beyond Belief Magazine

Jean Paul Donadini is a french painter who was born in Troyes, France, in 1951. He graduated from the Beaux Arts of Troyes in 1971, then the Beaux Arts of Nancy in 1973 and the Beaux arts of Paris in 1976. Since then,he has worked and lived in Paris, and has had many personal exhibitions […]

via Jean Paul Donadini – Brosses Arrétées — Bizarre Beyond Belief Magazine