Differentiating his prints from his paintings was presumably one of the reasons he started Factory Additions in 1966 - the company that was responsible for his mechanically reproduced prints, as opposed to his individually created
October 2011 Archives
Alex bewilders with his incredible Photoshop skills
We all attempt to follow along
A reference for Shaelena, but for everyone really...
In his Disassembly series, Canadian photographer Todd McLellan dissects discarded machines, laying out their parts with forensic precision. He then "sets the parts free", dropping them from the ceiling and freezing them mid-frame using strobe lighting to capture exploded views. Watch the time-lapse film here.
Old Telephone
Wind-up clock
Pentax camera
Typewriter
Also, Geoffrey, this is the exhibition at the MAD museum that I was talking about yesterday:
Otherworldly: Optical Delusions and Small Realities illuminates the phenomenal renaissance of interest among artists worldwide in constructing small-scale hand built depictions of artificial environments and alternative realities, either as sculpture or as subjects for photography and video. These are worlds of "magic realism" conceived and realized through intense engagement with materials, attention to detail, and concern for meaningful content. In this exhibition, the works are presented as dioramas, models, snow globes, and site specific installations, as well as through photographs and video.
and finally, Yoo Jin:
This is the lecture on Library format. The speakers were really interesting and talked about the library and its varying systems of organization in really diverse ways - especially Francois Quiviger, head librarian at the Warburg Institute.
Your article (Warhol's box of tricks, Weekend, 21 August) is mistaken when it says: "Delegating to a team of technicians who worked in a Manhattan studio he called the Factory, the artist created a conveyor belt that consciously blurred the line between individual authorship and mechanical reproduction." During most of the 60s (when the originalSilver Factory was in operation), Andy Warhol employed only one paid art assistant - Gerard Malanga. Although occasionally Warhol enlisted the help of other people to do things like stretch canvases on a voluntary basis, it was Gerard who helped Warhol with the actual silk-screening and it was Warhol, himself, who did the under-painting and over-painting on the canvases.Throughout his career Warhol had fewer assistants working for him than most artists do today. In assessing Warhol's methods of working, one must be careful to differentiate between his public pronouncements and the reality of how he actually worked. Although he may have liked to give journalists the impression that he was a "machine" who casually churned out works of art, in reality he was a control freak and workaholic who certainly knew the difference between prints (editions produced solely by "mechanical reproduction") and paintings, which involved a more personal approach. If his paintings were created merely by mechanical reproduction, there would be no difference between the prints and the paintings.
Differentiating his prints from his paintings was presumably one of the reasons he started Factory Additions in 1966 - the company that was responsible for his mechanically reproduced prints, as opposed to his individually created paintings.
For Antoine
One way street provides clear and accessible introductions to some of the central ideas in Benjamin's writings. Expert commentary from a range of English scholars situate Benjamin's work in the context of their time and evoke a sense of the excitement that his work has generated. A heightened visual style, montage structure and strong musical treatments correspond in evocative and powerful ways with the concerns and the strategies of Benjamin himself. 'One Way Street
4 ANTOINE VAXELAIRE
5 ELENA PALACIOS
5 GEOFFREY CHEUNG
4 GRAHAM BALDWIN
5 MANIJEH VERHESE
5 NOAM HAZAN
5 SHAELENA MORLEY
4 WINNIE TAM
5 WYNN CHANDRA
4 YOO JIN LEE
