Week 6: October 11
Week 6: October 11
This week for creative research and inspiration I went with Jack to Poster House on 23rd street.
We saw an exhibit called “Masked Vigilantes On Silent Motorbikes”
Title wall
AVW202 (Money Makers) on the left and MSSBUTTONS (Mighty Man of Valor) on the left by Nicholas Fraser
I really liked how this piece played with light and shadow, and how the cutouts from the banners were left attached. It made the banner itself a bit harder to read (especially with the imagery already on it), and you had to read the shadow for clarity.
These pieces (Dissonance #14 and Allusion) were collaged to make human faces (or parts of it), but with two different methods. The piece on the left was a more traditional collage, with different papers pieced together to make the human face. What is particularly interesting about the one on the right though, is that the shape of the eye actually is one piece of white paper that is overlaid over an image of a woman drawn comic style. What creates the image of the eye is small holes in the white paper that let more or less of the image underneath to show through and create shading. Our brain is able to connect the small dots together to piece them into the image of the eye. Just like how our brains create connections between things in juxtaposition, it can fill in the image of the eye from an arrangement of small holes in a piece of paper.
There was also an exhibit on the caricature or Air-India’s Maharaja, a cartoon caricature created for advertisements for Air-India.
I saw these posters which don’t exactly relate to my project, but I love the intricacy and the delicate patterns that are present.
And also the color palettes for these posters
I was also super inspired by this recipe card booklet full of recipes each from a different park of instead. I think the color palette and attention to detail (ex. the shape of the pocket) are really beautiful. The cards kind of remind me of Kpop photo cards I collect. They’re about the same size and I also keep them in a little binder. But I’ve been thinking go making some sort of pamphlet or booklet to hand out with mu art piece, and I think that this is a more unique option.
I really enjoyed my experience going to Poster House, and got some really good inspiration for color and type. All of the work was very beautiful. Dissonance #14 and Allusion were surprisingly complex, and made me think more about how we can piece together a bunch of little holes to create an image, which is gestalt. The recipe cards are also something I plan to maybe make in the future.
Finally, for scholarly research, I found this article about juxtaposition as a soft power.
Citation: Richard, Erica. “The Power of Juxtaposition.” Art21, April 21, 2020. https://art21.org/read/the-power-of-juxtaposition/.
Link: https://art21.org/read/the-power-of-juxtaposition/
The article is aimed at educators to show how contemporary artists combine their art-making with their roles as engaged citizens. It brings up the term soft power, and explains that "Soft power is a fitting term to describe the subtle and nuanced ways in which artists influence the social and political sphere.” Juxtaposition can be a way that artists can empower themselves to have influence in the social and political sphere by persuading viewers to see a juxtaposition and come to a particular conclusion. It also explains that "Juxtaposition is one tool used by contemporary artists to persuade viewers or elaborate on an idea; it demands that artists become conscious organizers of content.” I know that soft power is already a political term, so it’s interesting to see an overlap between politics and juxtaposition. I also feel like this is a good way of explaining its importance, which I was having trouble putting into words previously.
I was definitely inspired by the posters that I saw this week, even if I’m not sure if it’s really the final form that my project is going to take. I really like the way that the Nicholas Fraser banners played with light, and you sort of had to look at it at a certain angle to be read. I was also inspired by the colors and type in the Maharaja exhibit, particularly the recipe book. I just find it so delightful, and could be a good way to incorporate the making of a physical object to hand out for my project. I am also super intrigued by the concept of a soft power now, and plan to look maybe more into the history of the term, as I only know what it means on a surface level. It’s definitely an important aspect of juxtaposition though that I plan to incorporate into my final paper.
More Posts from Rachelcapstone and Others
Hi!
This page is dedicated to explorations and updates about Rachel’s senior capstone project.
In 1926, Wassily Kandinsky published two essays on his theory of form, the essays were accompanied by photographs and abstract drawings. Gret Palucca, a pioneer of the new expressive dance, was the model for the abstract drawings.
The Palucca-inspired sketches are originally based on photographs by Charlotte Rudolph
Week 1 Update: September 12
After reading the articles that Nancy sent this week, and after our conversation, I have decided to not purse the 3D printing idea specifically. While I am not against using it in my work, I already don’t feel like the passion for it is deep enough for it to be the main topic of my capstone.
I did really like MERRICK by Daan van den Berg. I like how it created a relationship between computer and biology (how the computer virus cause mutations similar to the way a real virus would). I also like how it was sort of out of your control what exactly the results would be like.
I also liked Damien Davis’s work. While I don’t think what it’s what I'm trying to do in particular, I do think it gave me some inspiration about exploring process and material. For some reason, his work kind of reminds be of the interactive puzzle things that you would find on the jungle gym at the playground. Maybe it’s the way the material was used.
(the other articles I read and was sent were posted below)
I think I’ll try thinking about collage as a medium this week. It still doesn’t feel quite right through? But maybe will help get me to a better direction.
7 days of making to be posted soon. 🎂
7 Days of Making
Get Space-Crafty with Earth Science!
It’s time to get space-crafty! (Get it?) We’re getting ready to launch Landsat 9 into space this fall, and we want to know, how does Landsat inspire you?
For nearly 50 years, Landsat satellites have been collecting important data and taking beautiful images of Earth, as a partnership between NASA and the U.S. Geological Survey. Scientists and policy makers alike use this data to understand climate change, deforestation, the growth of cities, and so much more.
In celebration of the Landsat 9 launch in September, we are calling all crafters to create space-crafts inspired by your favorite Landsat image! From watercolor paintings to needlework to frosted cakes, let your creativity flow and show us how you see Landsat images.
Post a picture of your craft on Instagram, Twitter or Facebook with the hashtag #LandsatCraft. We will spotlight some on social media!
For a little inspiration, here are some #LandsatCraft examples from some of the people who work with Landsat:
“Looking through the Visible Earth Landsat gallery for inspiration, I saw the Landsat Image Mosaic of Antarctica (LIMA) and knew immediately what I had to do -- recreate it in a mosaic of my own. LIMA is a composite of more than 1,000 cloud-free Landsat 7 images of Antarctica, and when it was released in 2007 it was our first high resolution, true-color look at the icy continent.” – Kate Ramsayer, NASA Landsat Communications Coordinator
“I love embroidering satellite imagery and NASA data. For Landsat, I wanted something with lots of straight lines -- much easier to stitch! -- and crop fields like these fit the bill. It’s amazing how clearly we can see the influence of human activities in satellite imagery like this. It’s a constant reminder of the effect we have on our home planet.” – Katy Mersmann, Earth Science Social Media Lead
“We didn’t have the discipline or the organizational skills to do any of the really, really fancy images, like Lena Delta, so we chose Garden City, Kansas in 1972. We added a model of Landsat 1, too.” – Ryan Fitzgibbons, Earth Science Producer, and Charles Fitzgibbons, Age 8
"I was inspired by this Landsat image which demonstrates how we can use satellite imagery to remotely monitor cover crop performance, a sustainable farming practice that promotes soil health. Since I began working with NASA Harvest, NASA's Food Security and Agriculture Program, I've come to understand the critical importance of conservation agriculture and resilient farmlands in support of a food secure future for all, especially in the face of a changing climate." – Mary Mitkish, NASA Harvest Communications Lead
“I chose particular ingredients that represent the Landsat qualities that we celebrate:
The base spirit is gin because Landsat data is clean and precise. Vermouth represents our foreign collaborators. Using both lemon and lime juices signifies the diverse uses of the data. The ginger is for the land we study. The apple, well, because it’s American. The club soda makes it a long drink, for the long data record.” – Matthew Radcliff, NASA Landsat Producer
“Last year for the 50th Earth Day, I created this poster, inspired by our views of river deltas -- many captured by Landsat satellites -- which are particularly beautiful and evocative of water coursing through our land like a circulation system of nature. In 2000, Landsat 7 took one of my favorite images of the Lena Delta, which is the basis for this art.” – Jenny Mottar, Art Director for NASA Science
Are you feeling inspired to create yet? We’re so excited to see your #LandsatCraft projects! Follow NASA Earth on Twitter, Facebook, and Instagram to see if your art is shared!
Make sure to follow us on Tumblr for your regular dose of space!
Week 5: October 4
For scholarly research this week, I found an article from NASA’s Color Usage Research Lab (that existed???) about successive and simultaneous contrast.
Citation: “Simultaneous and Successive Contrast.” Using Color in Information Display Graphics. NASA. Accessed October 4, 2022. https://colorusage.arc.nasa.gov/Simult_and_succ_cont.php.
Link: https://colorusage.arc.nasa.gov/Simult_and_succ_cont.php
“The terms "simultaneous contrast" and "successive contrast" refer to visual effects in which the appearance of a patch of light (the "test field") is affected by other light patches ("inducing fields") that are nearby in space and time, respectively. The names are somewhat misleading since both simultaneous and successive contrast involve inducing fields that are close in both time and space.”
Basically, it means that we see colors differently depending on what it’s surrounding colors are. This is a color theory related topic, but I just think it’s interesting that NASA has done research on this, as it’s a bit unexpected.
For creative research, I made a model of the mockup I created last week out of jewelry wire I had laying around, tissue paper, and other craft materials I had. The clear transparent material that is on the frame is two ziploc bags.
It was a slight failure, and it came out a bit wonkier than I expected, but it was probably still good to go through the process of making it. I’m still not sure about the exact works/materials that I would put on the windows. I used various textures, and definitely tried to keep with materials that light could shine through. I feel like it looks a bit childish though because of the use of craft materials….
If I actually made this, I’m realizing I would probably need to use several different arches and connect them on sight, so it could be easily transported and disassembled. Maybe I could use a shower curtain in place of a ziplock bag, and that was I could just drape that over the arches, and just make sure all of the squares are lined up.
I was a big fan of the successive and simultaneous contrast article from NASA, as I feel like it was a good bridge between the graphic design and psychology side of my topic. I am a bit disappointed by my creative research this week though, as it didn’t turn out as beautiful as it was in the mock-up. I am concerned by the lack of specificity of what I want to put in the windows and how I feel like it looks nice, but doesn’t completely convey the message of my topic. It would definitely need an explanation. Maybe I’ll get some feedback during crit next week on that.
Week 12: November 22
For creative research this week, I went back to Poster House to see two exhibits that weren't open the last time I went.
Title wall from the first exhibit, Schoolgirls at War: French Propaganda Posters from World War I.
Nous Saurons by Camille Boutet 1918
Title card for Nous Saurons
Title wall for the second exhibit, With My Little Eye: Warnings for the Homefront
Careless Talk Costs Lives Posters
Both of these exhibits focus on propaganda posters. Going back to the topic of soft power, these posters often harness it and use juxtaposition as a way to compare contrasting imagery with the war in order to deliver a political message. For example, Nous Saurons features children looking longingly at a candy store, with the caption “We will know how to deprive ourselves”. There is a juxtaposition between the candy store, the longing children, the caption, and the presumably adult viewer that implies that if children can find the strength and discipline to ration and control their desires during the war, then adults should be more than capable to do the same. The poster is an effort to get the French people to support the sugar rations put in place by the war effort. The use of children to juxtapose the underlying message of supporting a war is much more effective than a poster that would have just said “Rationing sugar is patriotic”. It sets an extreme contrast that says “if you, an adult, are not able to ration sugar, you have worse self control than a child”, without saying that phrase explicitly. This way of using juxtaposition to construct guilt in order to support the war is subtle yet potent. Similarly, in the Careless Talk Costs Lives Posters, people chatting with each other or over the phone in mundane situations are juxtaposed with the captions that they are participating in something deadly.
This week for scholarly research I read This Means This, This Means That: A User's Guide to Semiotics by Sean Hall.
Citation: Hall, Sean. 2012. This Means This, This Means That : A User’s Guide to Semiotics. Vol. 2nd ed. London: Laurence King Publishing. https://search.ebscohost.com/login.aspx?direct=true&db=e000xna&AN=926138&site=ehost-live.
Link: http://ezproxy.stevens.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=e000xna&AN=926138&site=ehost-live&ebv=EB&ppid=pp_75
Summary: Semiotics is the theory of signs, and reading signs is a part of everyday life: from road signs that point to a destination, to smoke that warns of fire, to the symbols buried within art and literature. Semiotic theory can, however, appear mysterious and impenetrable. This introductory book decodes that mystery using visual examples instead of abstract theory. This new edition features an expanded introduction that carefully and clearly presents the world of semiotics before leading into the book's 76 sections of key semiotic concepts. Each short section begins with a single image or sign, accompanied by a question inviting us to interpret what we are seeing. Turning the page, we can compare our response with the theory behind the sign, and in this way, actively engage in creative thinking. A fascinating read, this book provides practical examples of how meaning is made in contemporary culture.
In particular I wanted to focus on this section:
It essentially discusses how differences between signs is only due our own perception, because what really defines “sameness” or “difference”. After all, it’s only when two objects are the same in every respect that we can say there are no differences. There are two kinds of difference: difference in kind (which is the fundamental thing that the object is) and difference in degree, which when there may be small variations between two things that may be very similar in general. This is important to the function of juxtaposition because juxtaposition is the comparison of two objects or concepts that are different from each other. But what does different really mean?
I’m glad that this week I got to see the exhibits as poster house that were closed the last time I was there. I saw some good examples of how juxtaposition can be wielded to push a political agenda. The issue is that these juxtapositions are not based in the whole truth, or are not allowing equal comparisons. The lack of context in this case can be misleading, as comparing two extremes (such as the best of something with the worst of something) does not allow for a fair comparison. Without the full facts though, people may not be able to counter the juxtapositions that were put before them, and will come to the conclusion that the creator of that juxtaposition wants them to believe. Thus is the soft power of juxtaposition, and the importance of knowing how it functions and when to recognize it in order to think carefully before making any connections or conclusions. I also learned that line line between same and different is more blurred than I previously would have expected - could this be part of the reason that we can always find connections between unlike things? Or is it their degree of difference or kind that actually creates connections through differences instead? Perhaps both are true. I will explore both of these topics further maybe next week.
