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Week 1

Slendertone II, 2015 © Juno Calypso / TJ Boulting. From the series ‘Joyce’.

My starting point was Juno Calypso’s self-portrait "Slendertone" from 2015. In her photography, she

merges the personas of a despondent housewife and a monstrous figure. Her primary influences

stem from wax dolls and medieval torture dungeons. The design inspiration for her bath scenes

draws from the aesthetics of the 1970s.

Frequently embodying her alter ego, Joyce, Calypso stages herself in settings such as honeymoon

hotels or mid-century suburban homes, evoking a sense of nostalgia for bygone eras. Calypso crafted

this persona while studying photography at the London College of Communication

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Week 2

Future trends

I think that future trends will be a world where 3D printing become more common for a production process, allowing to buy custom-made products for more affordable prices. Al transforms fashion, predicting trends and creating personalized outfits. Biotechnology integrates with fashion, offering sustainable materials and eco-friendly manufacturing. Sustainability becomes one of the main factors, with a focus on reducing waste and carbon footprint. Accent on individuality and personality, with designs tailored to unique preferences. Minimalismis one of the main styles, with clean lines and simplicity like an aesthetics. The future is a combining of technology, sustainability, and individual expression, where each person's style reflects their personality.

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Week 3

Collaboration of Adidas and DSA

In a this particular collaboration, Adidas with a Down syndrome charity to launch a special sock collection. Featuring dofferent colors representing various football teams, these socks aim to raise awareness and support for individuals with Down syndrome. Sold in Adidas stores and football fan shops, each team have a unique design, with different colors on each sock. All funds from the sales will be directed to the charity, aiding in their invaluable work. This initiative will celebrates diversity and also showing the beauty of differences and the power of collaboration in making a positive influence on society.

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Week 4

Sustainability

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Introducing an innovative sustainable concept: multipurpose garments. Picture this: a shopping bag seamlessly transforms into a stylish puff jacket, offering versatility and functionality. Imagine having two essential garments in one sleek design - a black leather bag that effortlessly converts into a chic jacket. Not only does this concept save space and resources, but it also promotes practicality and style. Furthermore, envision a jacket that conveniently folds into a compact bag, perfect for on-the-go lifestyles. With this forward-thinking approach, fashion meets sustainability, offering consumers dynamic, eco-friendly solutions that prioritize both utility and aesthetics.

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Week 5

Campaign

This campaign is designed to promote the black faux leather bag that I crafted during the last semester of my studies. The bag's design is rooted in geometric forms, creating a striking contrast against the backdrop of nature. To capture the essence of this campaign, I ventured to the Seven Sisters cliffs, where the photos were taken. The primary objective is to highlight the benefits of using faux leather in crafting this bag, thereby preventing the use of real leather and the harm to animals.

The overarching theme of this campaign revolves around fostering a love and appreciation for nature.

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In what ways is Barbara Kruger's work relevant to the contemporary fashion industry? You could discuss what the work says about consumption, the power of advertising, the commodification of women's bodies, or think about the graphic quality of her style - pick one theme or idea, don't try to cover everything.

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In what ways is Barbara Kruger's work relevant to the contemporary fashion industry? You could discuss what the work says about consumption, the power of advertising, the commodification of women's bodies, or think about the graphic quality of her style - pick one theme or idea, don't try to cover everything.

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Barbara Kruger's work resonates deeply with the contemporary fashion industry, especially in its critique of consumerism and the power of advertising. One of her famous pieces "I shop therefore I am," showing us the basics of modern consumer culture, highlighting how the act of consumption become equeal to self-worht.

In the context of the fashion industry, Kruger's work serves as a stark reminder of the pervasive influence of advertising on consumer behavior. The bold typography and concise phrases characteristic of her style imitating the aesthetic of the campaigns, blurring the lines between art and commerce.

Furthermore, Kruger's work bring us to question the question of fashion as a form of self-expression versus a tool for conformity. In a society where brands and labels often dictate social status and identity, her artwork showing the criticism on the ways in which clothing can be used to construct and perform certain identities. "I shop therefore I am" challenges us to consider whether our fashion choices are truly reflective of our authentic selves or merely a result of external influences.

In the contemporary fashion industry, where trends come and go at an increasingly rapid pace, Kruger's work offers a fresh look on the reasons of consumption and its impact on both individuals and society as a whole. By encouraging viewers to critically look on their relationship with materialism and advertising, Kruger's art serves as a powerful catalyst for dialogue and reflection within the fashion community.

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barbara kruger# - Yahoo Video Search Results

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The search engine that helps you find exactly what you’re looking for. Find the most relevant information, video, images, and answers from all across the Web.

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Until the late 1970s, making a zine was a labor of love and money. Love as in time spent assembling the thing-the cutting out, the sticking together. Money as in paying a service to print issues. By the end of the 1970s, though, with photocopiers a fixture in public libraries, agit-propagandists could make copies of their pamphlets and artwork themselves. Zine culture flourished. Granular, black and white Xeroxed appropriated images overlaid with Letraset phrases were affordable carriers for political statements and creative theorizing. Plus, they could be pasted up wherever the artists wished (until they were taken down).

This kind of DIY approach has informed Barbara Kruger's work since the early 1980s. The grain and the grit, the declamatory phrases, the high contrast-both visually and in polemic-were reflected in the Woman's Art Journal's review of Kruger's first European solo exhibition (at London's Institute of Contemporary Art) in 1983. The Journal positioned Kruger at the vanguard of DIY political art, saying she was " ...fully aware of the politics of art in the age of mechanical reproduction. Her use of photography is radical, confrontational, agitational and obviously influenced by Benjamin's theory of montage."

SEE ALSO: Is Matthew Wong the 21st Century's van Gogh?

The Benjamin in question is German art theorist Walter Benjamin, who used his 1935 essay, 'The Work of Art in the Age of Mechanical Reproduction', to predict how reproduction machines would specifically benefit artists whose work has a political basis. Authenticity lost its meaning ("... from a photographic negative, for example, one can make any number of prints; to ask for the "authentic" print makes no sense") as the reproductive process itself was baked into the artwork. And reproduction means access-now artwork could be designed to be viewed on any wall, anywhere. Art and technology historian Margot Lovejoy folded Barbara Kruger's work into Benjamin's thinking for her 1989 essay, 'The Copier: Authorship and Originality', describing Kruger's " ...now characteristic black-and-white photographs re-photographed from existing sources...composed together with phrases typeset in Futura Bold italic and presented in red lacquered wood frame."

The paste-up photocopying may be long gone but Kruger's punchy aphorisms and unflinching strength (at nearly eighty) are still firmly evident in "THINKING OF YOU. I MEAN ME. I MEAN YOU" at London's Serpentine Gallery. It's been twenty years since Barbara Kruger's last solo show in the capital and "THINKING..." is an undoubtedly power-packed addition to London's art calendar. Part retrospective, part recent work, the Serpentine has given over all of its five gallery spaces to Kruger's large-scale thoughtforms, mixing do-overs of early works with contemporary video and standalone sound pieces.

Barbara Kruger's multimedia layers of meaning

(Untitled) Remember Me (the two words laid over a Man Ray-esque grayscale all-seeing eye) is soundtracked by 2021's Untitled (I love you) sound piece, in which a woman's voice says nothing more than " hello?" and then " I love you". Add a question mark to the image's title and its nature changes altogether. Untitled (No Comment) is a huge LED screen video piece featuring found footage and sound. An acrobat bends himself in half while a male voice patronizingly praises women's work around the house. There are single, loud clock strikes and snatches of quotations from Voltaire and Kendrick Lamar. A satnav tells someone off for their lack of empathic capacity. Amidst images of a talking cat and blurred-out Insta selfies, another anonymous voice says " thank you for sharing ".

Upgrading from paper collages to LED screens suits Kruger's work-after all, she was making memes before memes were a thing. Double screens for new artwork Untitled (Artforum) show text revealing itself as it's typed. White pages eventually packed with black words, an invisible hand then adds notes and marginalia in red for added clarity. This is the art of the twin twenty-first-century overs: over-explaining and oversharing.

The desperate urge to be understood in a clamorous, look-at-me-please world. The three screens for Untitled (Pledge, Will, Vow) showcase worked and re-worked snatches of the U.S. Pledge of Allegiance, last will and testament legalese and formal marriage vows. Some video screens are static LED images (backlit, never has Kruger's trademark red looked redder). First exhibited in 1987 and now a motionless video artwork, the expression on the ventriloquist dummy's face in Untitled (Our Leader) is as judgemental and unknowable in its stare as it ever was. In the age of #MeToo, 1989's Untitled (Your body is a battleground), with its women's face, one half shown as a photographic negative, possesses further layers of meaning.

Untitled (I shop therefore I am) from 1987 is here too, of course-the Descartes quote about thinking and being developing onscreen into a series of consumerist and emotional phrases. There's a whole room dedicated to Untitled (FOREVER). The floor is covered with an extract from Orwell's 1984 (the O'Brien speech that begins: "If you want a picture of the future, imagine a boot stamping on a human face-forever"), and the longest wall is filled with a section of a 1928 Virginia Woolf lecture. The 'you' from Woolf's "You. You are here, looking through the looking glass, darkly..." is magnified as through a looking glass lens, with walls on either side crowded in text that ends, "THINKING OF YOU. I MEAN ME. I MEAN YOU".

Barbara Kruger is constantly revising her work, and this post-analog tweaking pays off. By keeping her intellectual and political wheels in motion (and swapping the Xerox machine for HD digital images and sound), she continues to lead the pack in her role as social commentator and narrator, neatly avoiding accusations of fustiness on the way. Her text and appropriated imagery remain rhetorical and funny, harrowing and sarcastic, and the new pieces show Barbara Kruger is still adept at flipping the bird at rotten establishment targets, from the patriarchy to capitalism and beyond.

"THINKING OF YOU. I MEAN ME. I MEAN YOU" is on view at the Serpentine Gallery in London through March 17. Booking ahead is advisable.

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Barbara Kruger Is Still Flipping the Bird

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The paste-up photocopy zines of days past may be long gone but Kruger's punchy aphorisms and unflinching strength are still here.