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propaganda | Origin and meaning of propaganda by Online Etymology Dictionary

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Meaning: "committee of cardinals in charge of Catholic missionary work," short for Congregatio de Propaganda Fide "congregation for... See more definitions.

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ebahsunlei: Elin Johansson - paper fash...

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ebahsunlei: Elin Johansson - paper fashionhair, Pia Vivasmakeup, Kim Caudlestyling, Elin Johanssonmodel, Kristina V. at Click

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Folding Techniques for Designers: 'v' pleats

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Folding Techniques For Designers: Other Pleats

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Folding Techniques For Designers: Spans and Parabolas

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Folding Techniques for Designers: One Crease No Crease

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Folding Techniques For Designers: Basic Pleats

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Folding Techniques for Designers: From Sheet to Form

By Paul Jackson

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Prototipe for the confort zone project20...

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Prototipe for the confort zone project2016

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My inspiration for my outfit was the industry of anorexia thy goes from catwalk to Instagram and is all about segregation and money. Instagram is one the main media’s for spreading this kind of disease, and can contain thousands of accounts dedicated to “Ana”.

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Instagram has been found to be damaging to young people's mental health

The social media app has been linked to the eating disorder orthorexia nervosa

Orthorexia nervosa is an illness and obsession with eating healthily

Young people were most likely to feel depressed and lonely after using the app

Instagram has been found to be damaging to young people's mental health and even associated with the eating disorder orthorexia nervosa.

Today, Instagram has been ranked as having the worst effect on young people's mental health in a new report.

The Royal Society for Public Health found that young people were most likely to feel depressed and lonely after using the app, as well as associating it with negative attributes and low self-esteem, resulting in poor body image and lack of sleep.

However, it doesn't end there. More specifically, a recent study by University College London found a link between high Instagram use and the eating disorder orthorexia nervosa.

Scrolling through a feed of green smoothies and yoga posing is beginning to show evidence of leaving a damaging mark.

Researchers surveyed 680 females with an average healthy BMI about what social media they use and how often. They also asked which of 19 food types the ate, and used a questionnaire to assess how many orthorexic symptoms they possess.

In the publication on the National Library of Medicine,they concluded that high Instagram use is associated with a greater tendency towards orthorexia nervosa (ON), and interestingly, no other social media platform has the same effect.

ON is an illness and obsession with eating healthily, whereby people showing symptoms eat more fruit and vegetables, cut out food groups such as white carbohydrates, shop in health food stores, exercise and rarely drink alcohol. It sounds like simple healthy lifestyle choices, right?

The difference is ON is also associated with significant dietary restrictions, malnutrition and social isolation.

There is an overlap with both obsessive compulsive disorder and anorexia, sharing traits of rituals and intrusive thoughts for the former and perfectionism and guilt over food for the latter.

The researchers note that ON is currently more prevalent with yoga instructors, dietitians, nutrition students and exercise science students compared to the general population, where it is estimated to be less than one per cent.

As well as this, the Independent reported on a paper last week which points out that Instagramming our food can have an effect on later enjoyment.

Over exposure to food (through looking at it or taking photos) makes you bored of the food before you've even began eating it, with the eating becoming secondary to the perfect filter online.

According to the UCL researchers, 54 per cent of the us are turning to their feeds to discover and share food experiences, and 42 per cent using it to seek advice about food. Therefore, the harm of the 'clean eating' trend is already a hot topic.

Why Instagram is the worst culprit

Of course, during an obesity epidemic, encouraging healthy eating is a good thing. Using Instagram to share a weight loss journey may be the key to one persons success. Finding fellow fitness fanatics and sharing recipes is another's ticket to like-minded friends.

On the other hand, a scroll though social media can be a knock to our self confidence, or more seriously, fuel for a mental illness. The authors suggested these three reasons for the link between Instagram and the eating disorder:

Firstly, Instagram is all about the pictures. Taking the perfect shot of your protein pancakes means more likes, and a great platform to attract other healthy eaters.

Secondly, all the posts you see are from people you follow (or similar, on the explore page). Following tons of the #fitfam crew or slim food bloggers will expose you to a bombardment of extreme health messages, allowing for normalisation of behaviours which users may feel pressures to conform to.

Thirdly, we see social media influencers as an authority who we look up to. Their posts and words reach millions of people looking for answers and advice, turning to popular 'celebrity' like figures rather than experts.

The participants in the study were recruited through the health community on social media, and although the sample size was small, the authors point out there are now over 500 million users on Instagram worldwide, meaning this could be very worrying on a population level.

When healthy becomes unhealthy - are you at risk?

Although this research shines a serious light on social media's impact on our health, leading UK eating disorder charity Beat says there is no evidence that social media use can directly cause eating disorders.

'Research is telling us that they are genetically and biologically based', Hannah Goran, a spokesperson for Beat, said. 'The increasing amount of emphasis on healthy eating and on body muscle and tone, including on social media, could exacerbate the illness in someone who is already suffering or vulnerable.'

So, how do we know when our interest in healthy living has become an obsession?

'The most important thing is to be conscious of what you are thinking', says Jacqueline Hurst, a hypnotherapist, life coach and specialist in emotional eating/body image issues and weight management.

'If you're not aware of what you're doing, it's very hard to change the behaviour. After going on Instagram, ask yourself how you are feeling when you look at people fitter or thinner than you. Or whether you feel good enough if you aren't making avocado on toast every day. When you make your breakfast, do you question if you are doing it wrong? If you think it is effecting you, come off for a few days and see how you feel.'

At the moment, orthorexia nervosa is not recognised as an official eating disorder diagnosis. According to Beat, this is because it doesn't have it's own specific treatment pathway (which is to say that clinicians have not identified a distinct way to treat it the way they have anorexia, bulimia, or binge eating disorder, for instance).

'When someone is diagnosed as having an eating disorder that doesn't fit the diagnostic criteria for anorexia, binge eating disorder, or bulimia, they are considered to have 'other specified feeding or eating disorder' and treated according to the most appropriate treatment pathway', Hannah Goran, a spokesperson for Beat said.

This isn't to say the eating disorder is unnoticed. Jacqueline says it has been discussed for years and people are realising how dangerous it has become. 'Orthorexia is very much about cutting out food groups. This 'clean eating' is a tricky word to begin with, because it makes some foods appear dirty or wrong.

'It's like 'this week I'm cutting out carbohydrates, next week I'm not going to eat carbohydrates or dairy, and then the next week I'll stop eating gluten, too.' What you find is people are allowing themselves to eat less and less until all they can eat is green cabbage which they will only get from the farmer's market on Sunday. It is debilitating and effects a lot of people', she says.

The orthorexia nervosa quiz

Dr Steven Bratman originally coined the term in 1996. The Authorised Bratman Orthorexia Self-Test can be found here, and in his book, he uses this quiz to determine someone's susceptibility. It's worth having a read of this brief version if you are concerned about whether you're affected:

1) Do you spend more than 3 hours a day thinking about food?

2) Do you plan tomorrow's food today?

3) Do you care more about the virtue of what you eat than the pleasure you receive from eating it?

4) Have you found that as the quality of your diet has increased, the quality of your life has correspondingly diminished?

5) Do you keep getting stricter with yourself?

6) Do you sacrifice experiences you once enjoyed to eat the food you believe is right?

7) Do you feel an increased sense of self-esteem when you are eating healthy food? Do you look down on others who don't?

8) Do you feel guilt or self-loathing when you stray from your diet?

9) Does your diet socially isolate you?

10) When eating the way you are supposed to, do you feel a peaceful sense of total control?

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Why Instagrammed breakfast bowls can drive you to an eating disorder

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Instagram has been found to be damaging to young people's mental health The social media app has been linked to the eating disorder orthorexia nervosa Orthorexia nervosa is an illness and obsession with eating healthily Young people were most likely to feel depressed and lonely after using the app Instagram has been found to be damaging to young people's mental health and even associated with the eating disorder orthorexia nervosa.

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wikiHow's mission is to help people learn, and we really hope this article helped you. Now you are helping others, just by visiting wikiHow.

Trek to Teach is a nonprofit organization that sends fluent English speakers to teach in Nepal near the Himalayas. In addition to teaching, Trek to Teach strengthens local communities by helping schools build infrastructure, paint their classrooms, and find furniture.

Click below to let us know you read this article, and wikiHow will donate to Trek to Teach on your behalf. Thanks for helping us achieve our mission of helping people learn how to do anything.

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Have you ever felt dissatisfied with existing religions? Have you ever become fed up with the lack of tolerance within many existing religions? If you are inspired to create change, you can start your own religion. It may take a lot of...

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Paperbfolding works of art . Lovely

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A pair of yellow headphones. A violin case. A set of keys. All miniature objects faithfully crafted from Japanese papers by Toronto-based artist Cybele Young, any one of which would be considered striking in its own right, but she doesn't stop there. Each object, however mundane, is displayed step-by-step in a dramatic process of metamorphosis as it transforms into unusual organic lifeforms. A pair of rollerskates gradually becomes a network of fungus-like membranes, or an ordinary handbag grows an unnerving coat of sharp spikes. From her artist statement:

Engaging with abstract and familiar motifs, I juxtapose sculptures to create a sense of dialogue or play between them. I approach my work in series and components, ultimately building an ongoing inventory of personal experience and observation.

I compile these in various arrangements to create communities that interact and form new relationships - much like the small seemingly insignificant moments in our everyday lives that come together to create unexpected outcomes. These manifest as miniature theatres - one act plays, where shifts of scale and perception occur. Despite the absence of the human form there is an implied presence, where the viewer can project themselves into another world.

Young's work is currently on view for two more days at Forum Gallery in New York, so don't miss it. (via Colossal Submissions, thnx David!)

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Cybele Young's Paper Sculptures Depict Everyday Objects Metamorphosing into Otherworldly Creatures

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A pair of yellow headphones. A violin case. A set of keys. All miniature objects faithfully crafted from Japanese papers by Toronto-based artist Cybele Young, any one of which would be considered striking in its own right, but she doesn't stop there. Each object, however mundane, is displayed step-b

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Retired medical artist recreated the face of a man, living at the same time and place as Jesus, using forensic techniques and passages from the Bible

Portrait shows the Son of God with a wide face, hazel eyes and a beard

He is also depicted as having short curly hair and a tanned complexion

The 'reconstruction' was based on three Semite skulls found in Israel

He may be shown as a Caucasian man with long, flowing light brown hair in many religious artworks, but Jesus would have likely had a darker complexion and short, dark, curly hair, a forensic expert claims.

Retired medical artist Richard Neave has recreated the face of 'Jesus' by studying Semite skulls using modern-day forensic techniques.

His portrait shows the Son of God may have had a wide face, dark eyes, a bushy beard and short curly hair, as well as a tanned complexion.

These features would likely have been typical of Middle Eastern Jews in the Galilee area of northern Israel.

Dr Neave stressed the portrait is that of an adult man living at the same time and place as Jesus, but some experts say his depiction is still likely far more accurate than paintings by the great masters.

Without a skeleton or remains that can be categorically confirmed as Jesus, and a lack of physical descriptions in the New Testament, many previous images have been based either on the society in which the painter or sculptor lived, or hearsay.

With this in mind, Dr Neave, formerly from the University of Manchester, used a technique called forensic anthropology as well as fragments of information from the Bible, to create the portrait that may resemble the religious figure, Popular Mechanics reported.

The technique uses cultural and archaeological data, as well as techniques similar to those used to solve crimes to study different groups of people.

The team hypothesised Jesus would have had facial features typical of Galilean Semites of his era, based on a description of events in the Garden of Gethsemane, written in the New Testament in the Gospel of Matthew.

He wrote that Jesus closely resembled his disciples.

Dr Neave and his team X-rayed three Semite skulls from the time, previously found by Israeli archaeologists.

WHY IS JESUS DEPICTED IN DIFFERENT WAYS?

They used computerised tomography to create 'slices' of the skulls to uncover details that make up their structure.

They then used specialist programs to calculate important measurements and work out how the muscles and skin should look.

From this data, the experts built a digital 3D reconstruction of a face, before creating a cast of the skull and adding layers of clay to match the thickness of facial tissues calculated by the program.

Features including the eyes, lips and nose were then estimated to follow the shape of the underlying muscles predicted by the shape of the skulls.

Of course, analysis of the skull did not reveal the colour of Jesus' eyes or how his hair looked.

So Dr Neave's team studied first century artwork from various archaeological sites, created before the Bible was written.

From these works, they hypothesised Jesus had dark eyes and likely had a beard, in keeping with Jewish traditions at the time.

The Bible also offered a clue as to how Christ wore his hair - short, with tight curls, unlike many Renaissance depictions, for example.

This comes from a Bible passage by Paul, who wrote: 'If a man has long hair, it is a disgrace to him,' suggesting Jesus did not have this hairstyle.

However, it contradicts the long-haired image seen in the Shroud of Turin, which is believed, by some, to bear the image of Christ when he was wrapped in a cloth after his death on the cross.

The team analysed skeletal remains of Semite men from the time of Jesus to come up with the average build of a Jewish man living in Galilee.

From this, they suggested Jesus was likely around 5ft 1inch tall (1.5 metres) and weighed around 110lbs (50kg).

They also theorised he would be more tanned and muscly than traditionally depicted in Western art, because he would have worked mostly outside as a carpenter until he was 30.

Dr Neave, the author of book of Making Faces: Using Forensic and Archaeological Evidence, has reconstructed many famous faces including Alexander the Great's father, King Phillip II of Macedonia.

COULD WE SOON DRINK THE SAME WINE AS JESUS?

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Retired medical artist recreated the face of a man, living at the same time and place as Jesus, using forensic techniques and passages from the Bible Portrait shows the Son of God with a wide face, hazel eyes and a beard He is also depicted as having short curly hair

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"art of composing types and printing from them," 1640s, from French typographie, from Medieval Latin typographia, from Greek typos (see type (n.)) + -grapheia "writing," from graphein "to write" .(see -graphy).

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Tipografia - Wikipédia, a enciclopédia livre

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A tipografia (do gregos typos - "forma" - e graphein - "escrita") é a arte e o processo de criação na composição e impressão de um texto, física ou digitalmente. Assim como no design gráfico em geral, o objetivo principal da tipografia é dar ordem estrutural e forma à comunicação escrita.

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Worked for the "Congregatio de Propaganda Fide", the first enrollment where the term “propaganda” was used as we know today. It had the purpose of spreading the words of the Catholic Church to the world. (I discovered that in my collection project).

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Giambattista Bodoni - Wikipédia, a enciclopédia livre

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Decide dar novo rumo à sua vida e inicia uma viagem para Inglaterra, mas adoece e acaba por ficar na sua terra (Saluzo) o que acabou por transformar o seu destino. O Duque de Parma nomeia-o director da "Stamperia Reale".

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Typography is, quite simply, the art and technique of arranging type. It's central to the skills of a designer and is about much more than making the words legible. Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference between a good, bad and great design.

There are lots of typography tutorials around to help you master the discipline. But good typography is often down to creative intuition. Once you're comfortable with the basics, visit some typography resources to investigate font families and discover some font pairings that are made for each other.

Choosing a font

There's an astonishing array of paid-for and free fonts to choose from online. But with great power comes great responsibility. Just because you can choose from a vast library doesn't mean you have to; there's something to be said for painting with a limited palette, and tried and tested fonts like Helvetica continue to serve us well.

A typeface, like any form of design, is created by craftsmen over a substantial period of time, using the talent they've been honing for many years. And the benefits of a professionally designed font - various weights and styles to form a complete family, carefully considered kerning pairs, multi-language support with international characters, expressive alternate glyphs to add character and variety to type-setting - are not always found in a font available for free.

Here are some of the most important typographic considerations the professional designers needs to take into account.

01. Size

All typefaces are not created equally. Some are fat and wide; some are thin and narrow. So words set in different typefaces can take up a very different amount of space on the page.

The height of each character is known as its 'x-height' (quite simply because it's based on the letter 'x'). When pairing typefaces - such as when using a different face to denote an area of attention - it's generally wise to use those that share a similar x-height. The width of each character is known as the 'set width', which spans the body of the letter plus a space that acts as a buffer with other letter.

The most common method used to measure type is the point system, which dates back to the 18th century. One point is 1/72 inch. 12 points make one pica, a unit used to measure column widths. Type sizes can also be measured in inches, millimetres, or pixels.

02. Leading

Leading describes the vertical space between each line of type. It's called this because strips of lead were originally used to separate lines of type in the days of metal typesetting.

For legible body text that's comfortable to read, a general rule is that your leading value should be greater than the font size; anywhere from 1.25 to 1.5 times.

03. Tracking and kerning

Kerning describes the act of adjusting the space between characters to create a harmonious pairing. For example, where an uppercase 'A' meets an uppercase 'V', their diagonal strokes are usually kerned so that the top left of the 'V' sits above the bottom right of the 'A'.

Kerning similar to, but not the same as, 'tracking'; this relates to the spacing of all characters and is applied evenly.

04. Measure

The term 'measure' describes the width of a text block. If you're seeking to achieve the optimum reading experience, it's clearly an important consideration.

05. Hierarchy and scale

If all type was the same size, it would be difficult to know which was the most important information on the page. In order to guide the reader, then, headings are usually large, sub-headings are smaller, and body type is smaller still.

Size is not the only way to define hierarchy - it can also be achieved with colour, spacing and weight.
Next page: Glossary of typography A-D

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Typography rules and terms every designer must know

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Typography is, quite simply, the art and technique of arranging type. It's central to the skills of a designer and is about much more than making the words legible. Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference between a good, bad and great design.

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Barbs, beaks, brackets, bowls.

Baffled by typography terms? You're not alone.

One of the most common questions we field at Print is what the heck typography's various terms all mean. We called in Denise Bosler, author of Mastering Type: The Essential Guide to Typography for Print and Web Design, to serve as our official translator. Here, Denise shares a selection from her book breaking it all down:

apex: the top point of a letterform where two angled strokes meet

arm: a secondary stroke that extends horizontally or diagonally from a stroke at the top and does not connect to another stroke

ascender: the part of a lowercase letter that extends above the x-height

barb: the terminal for a curved capital serif letter

baseline: the horizon on which letters sit

beak: the terminal for a straight capital serif letter found on the horizontal strokes

body copy: the text that makes up a paragraph-it reads best when set between 8 and 11 points in size

bowl: a curved stroke that connects to either a vertical stroke or to itself

bracket: a piece that connects a stroke to a serif

closure: the principle that states the eye will complete a path of an object

compound modules: formed by combining modules horizontally, vertically or both

continuity: once the eye begins to follow something it will continue traveling in that direction until it encounters another object

counter: any enclosed space in a letterform. If the space is completely enclosed, it is referred to as a closed counter. An open counter occurs when a curved, straight or angled stroke does not connect to another stroke but still creates an enclosed space.

cross bar: a stroke that horizontally connects two strokes

cross stroke: a stroke that crosses over another stroke but doesn't connect on either side

crotch: inside of a vertex

descender: the part of a lowercase letter that extends below the baseline

drop cap: a larger letter at the beginning of a paragraph that drops down into the lines of text below it

ear: the small extension that protrudes up and out from the top of a stroke or bowl and is often teardrop-shaped or rounded

em dash: a long dash that indicates either a change of thought or emphasis

en dash: a medium-length dash indicating a range of items or the passage of time
Develop your own typographic voice and learn how to incorporate hand lettering into your work with Denise Bosler's Hand Lettering Power Course.
eye: the closed counter of a lowercase e

font family: all the variations in weight, width and angle of a typeface

graphic text: text formatted to output as an image file

grid: a matrix of vertical and horizontal lines that come together to create a two-dimensional structure

hanging cap: a letter at the beginning of a paragraph that literally hangs outside the edge of the paragraph

headline: line of text that stands out from the rest of the page and sets the tone for the document, generally set at 18-24 points or larger in size

hyphen: a short dash used for words that break at the end of a sentence and for compound words

hyphenation: the splitting of a word at the end of a line and continuing onto the next line

indent: a small space before the first word of a paragraph equal to an em space, the space occupied by a capital M

inherent web text: text programmed to automatically resize to match the resolution and viewer's browser preferences

italic: angled version of letterforms that are redrawn, but the letters remain consistent with the essence of the overall look

kerning: a manual adjustment of the space between two letters

leading: horizontal white space between lines of text

leg: a secondary stroke that extends horizontally or diagonally from the bottom of a letter

legibility: the ability to discern all parts of a character and all the styles within a font family

ligature: two or more letters that touch

lining numbers: numbers that line up along the cap height

link: the small piece which connects the upper bowl with the lower loop of a traditionally shaped lowercase g, also known as two-story g

live text: searchable and editable text

loop: the lower bowl of a traditionally shaped lowercase g, also known as two-story g

monogram: a design that contains overlapping letters, usually the first, middle and last initials of a person's name

oblique: angling letterforms with little or no change to the letterfoms

old style numbers: numbers that have varying heights with ascenders and descenders when set along the baseline

optical alignment: aligning letters that are curved or pointed above the cap height, below the baseline or outside vertical alignment to allow them to align optically

point: measuring system used for type size-there are 72 points in an inch

prime marks: symbols that denote inch and feet, also known as dumb quotes

readability: the level of a word's comprehension based upon font choice, size, style, kerning, tracking, case and location on the page

sans serif: typeface with no extra structural extensions coming from the horizontal and vertical strokes. Sans is a French word meaning "without"-hence the phrase sans serif means "without serif"

serif: small structural extensions that are at the end of a letter's horizontal and vertical strokes. Serifs come in a variety of shapes and sizes. Serif also refers to the category name of a font that has serif extensions.

shoulder: a short rounded stroke that connects two vertical strokes or a vertical stroke and a terminal

smart quotes: quotation marks that curl or angle toward the text, also called curly quotes

spine: the curved stroke through the middle of an s

spur: a small pointed extension typically coming off the top or bottom of a vertical stroke that connects to a rounded stroke-oftentimes on a serif lowercase letter

standup cap: a letter at the beginning of a paragraph that is several times larger than that of the surrounding text but shares the same baseline as the body copy

stress: the axis created by the thick and thin stroke contrast of a letter

stroke: a straight or curved line that creates the principal part of a letter

subhead: brief line of text that divides the body copy into sections between headlines and body copy

swash: the extra flourish that accompanies many script and blackletter style typefaces

tail: the stroke that crosses the lower half of an uppercase Q

terminal: a stroke ending without a serif

tracking: the spacing between all of the letters in a word or sentence

vertex: the bottom point of a letterform where two angled strokes meet

weight: varying degrees of thickness built into a font with a standard range being light, roman (also called book), medium, bold, heavy and black

whispering headline: a headline that fails to attract the attention of the viewer because it is too small, blends in with the text to which it is assigned or is of insufficient boldness or color contrast

x-height: the center area of the baseline and cap height, measured against the height of the lowercase x

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Typography Terms 101: Everything You Need to Know - Print Magazine

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Barbs, beaks, brackets, bowls. Baffled by typography terms? You're not alone. One of the most common questions we field at Print is what the heck typography's various terms all mean. We called in Denise Bosler, author of Mastering Type: The Essential Guide to Typography for Print and Web Design , to serve as our official translator.

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Virginiano? Nope, libriano

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The official and the unofficial Martin Creed website.

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Work No. 885
2008
Acrylic on canvas
30 x 24 in / 76 x 61 cm

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How to make a paper Cat's Claws? (By Jeremy Shafer)

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Promotional poster using the shapes of Van Lanen typeface, by Matthew Carter. Diatipo type conference, 2014. Continue reading Diatipo poster turingType specimen featuring some metal types from the OTSP collection... Continue reading specimen "Pequenos Alfabetos"

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FontStruct. Build, Share, Download Fonts

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© 2018 Colossal, all rights reserved. We try our best to attribute images, videos, and quotes to their creators and original sources. If you see something on Colossal that is misattributed or you would like removed, please contact us. Colossal participates in affiliate marketing programs and may earn a commission on sales through links to Etsy, Amazon, Society6, and iTunes.

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© 2018 Colossal, all rights reserved. We try our best to attribute images, videos, and quotes to their creators and original sources. If you see something on Colossal that is misattributed or you would like removed, please contact us. Colossal participates in affiliate marketing programs and may earn a commission on sales through links to Etsy, Amazon, Society6, and iTunes.

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Issue 001

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'Experimenting with letterforms is a natural part of making, often born out of enthusiasm rather than commercial or practical imperatives'
Tony Brook

SPIN/Adventures in Typography looks at the typographic flotsam and jetsam of Spin's creative process. It's a repository for trains of thought, itches that needed to be scratched, as well as fresh new ideas. It continues the conversation started with the studio's 2015 monograph SPIN 360° [Unit 19].

SPIN/Adventures in Typography is a visual record of Spin's creative interests and outputs - combustive explorations not afraid to plunge into the abstract, teetering on the edge of legibility. A journal boisterous with typographic riffs, remixes, and rearrangements - SPIN/Adventures in Typography is an invitation to engage in conversation, an ellipses rather than a full stop.

'The reason we chose the journal format is because it encourages us to keep pushing-to keep trying new things.'Tony Brook

SPIN/Adventures in Typography [Unit 31]
Soft back, 52pp, screen printed envelope, £18
Edition of 1000
Size: 258mm x 203mm
Cover: Cut short foiled book cloth
Paper stock: 100gsm Fedrigoni Free Life Cento.
One colour throughout
Binding: Staple bound
Special features: Three covers, black, white, silver. One colour Silkscreened plastic sleeve.

Order now for immediate delivery
Ships postage free worldwide.

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SPIN/Adventures in Typography (Issue 001)

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'Experimenting with letterforms is a natural part of making, often born out of enthusiasm rather than commercial or practical imperatives'Tony BrookSPIN/Adventures in Typography looks at the typographic flotsam and jetsam of Spin's creative process. It's a repository for trains of thought, itches that needed to be scratched, as well as fresh new ideas.

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Issue 002

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SPIN/Adventures in Typography 2 [Unit 36]Design: Spin Edition of 1000Available for immediate delivery Book Spin/Adventures in Typography 2 is serious and silly in equal measure (occasionally at the same time). The Spin team of Tony Brook, Claudia Klat and Jonathan Nielsen have embarked on a journey into typography's darkest recesses.

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I saw a tumblr post with this fantastic cross/letter t. Turns out it was a project by Jack Archer done a few years ago called "TV Typeface." Really liked this retro project. Going to try and contact him to get a poster of one of these images. Checkout the bts above.

[note]

Project Details via his website:
"A project inspired by the phrase "Turn off your TV" mentioned in a lecture by adventurer Alastair Humphreys. To illustrate this idea I built a shelving unit to house 15 small televisions; creating a dot-matrix grid where individual TV's could be turned on or off, to produce different letterforms and numbers.
Below is a time lapse film documenting the set-up, process and tear-down of the project. A digital camera recorded the film by capturing a single image every 06 seconds. Thanks to Beccie, Rich and John."
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I saw a tumblr post with this fantastic cross/letter t. Turns out it was a project by Jack Archer done a few years ago called "TV Typeface." Really liked this retro project. Going to try and contact him to get a poster of one of these images. Checkout the bts above.

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Experiment
I love body movement and dancing . This video combines that with typography, when the main subject uses the body to form letters

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Whole Alphabet

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Vintage Human Typography : Jenny Shipper

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Jenny Shipper - Canadian designer and photographer Jenny Shipper has a strong love and foundation for visual communication design. She also seems to have a thing f...

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The Guerrilla Girls' Guide to Behaving Badly, 2016

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posters, books, stickers, actions

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2001-2005 Free Women Artists of Europe (poster, coaster) The Venice Biennale (6 large scale banners) The Guerrilla Girls' Art Museum Activity Book (book) I Decide...They don't Decide (posters) Bitches, Bimbos and Ballbreakers: the Guerrilla Girls' Illustrated Guide to Female Stereoytpes (book) The Estrogen Bomb Update (project for the Village Voice,

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In 20 years of experience, Freitas created works ranging from advertisement, fashion, branding, editorials for clients including Coca-Cola, L'Oreal, Petrobras and Technos. Freitas created award-winning campaigns, receiving 2 Cannes awards.

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Complaint Departament

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Exhibition: Departamento de Reclamações: Frestas - Trienal de Artes, Brazil

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Exhibition: GUERRILLA GIRLS Departamento de Reclamações at Frestas - Trienal de Artes, Sorocaba, Brazil If you can't get to Sorocaba you can post your complaints right here http://departamentodereclamacoes.com https://www.sescsp.org.br/online/artigo/10974_FRESTAS+TRIENAL+DE+ARTES+A

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GUERRILLA Girls Complaint Departament Sorocaba

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GUERRILLA Girls Complaint Departament Sorocaba

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Bob and Roberta Smith

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Cildo Meireles - Wikipédia, a enciclopédia livre

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Ele tem desempenhado um papel chave dentro da produção artística nacional e internacional.

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Babel 2001 is a large-scale sculptural installation that takes the form of a circular tower made from hundreds of second-hand analogue radios that the artist has stacked in layers. The radios are tuned to a multitude of different stations and are adjusted to the minimum volume at which they are audible. Nevertheless, they compete with each other and create a cacophony of low, continuous sound, resulting in inaccessible information, voices or music.

In describing this work, Meireles refers to a 'tower of incomprehension' (quoted in Tate Modern 2008, p.168). The installation manifests, quite literally, a Tower of Babel, relating it to the biblical story of a tower tall enough to reach the heavens, which, offending God, caused him to make the builders speak in different tongues. Their inability to communicate with one another caused them to become divided and scatter across the earth and, moreover, became the source of all of mankind's conflicts. The room in which the tower is installed is bathed in an indigo blue light that, together with the sound, gives the whole structure an eerie effect and adds to the sense of phenomenological and perceptual confusion. The radios are all of different dates, the lower layers nearest the floor being composed of older radios, larger in scale and closer in kind to pieces of furniture, while the upper layers are assembled from more recent, mass-produced and smaller radios. This arrangement emphasises the sense of perspectival foreshortening and thus the impression of the tower's height, which, like its biblical counterpart, might continue into the heavens.

The artist has explained that the work took over ten years to complete from initial conception to its realisation:

Babel began in 1990 on Canal Street, in New York. There were eleven years of notes before I finally realised the work in 2001, in Helsinki, at the Kiasma Museum of Contemporary Art. Upon observing the quantity and diversity of radios and all the different types of sound objects that were sold around Canal Street, I thought of making a work with radios. Radios are interesting because they are physically similar and at the same time each radio is unique.
(Quoted in Tate Modern 2008, p.168.)

The title and themes of Babel also relate to one of Meireles's most important and ongoing influences, the Argentinean writer Jorge Luis Borges (1899-1986). Borges's fiction also provides one of the key references for another major work by Meireles in Tate's collection, Eureka/Blindhotland 1970-5 (Tate ), which draws on Borges's short story 'Tlön, Uqbar, Orbis Tertius', first published in 1940. A further connection between the two works is their use of sound as a sculptural and perceptual element. Here, however, Meireles has borrowed a symbol that is central to Borges's writing. In his story 'The Library of Babel', originally published in 1941, Borges described a universe in the form of a vast or conceptually complete library that has its centre everywhere and its limits nowhere. This corresponds to Meireles's interest in expanded notions of space and of infinity, in an excess of perceivable information and the processes of cognition.

The curator and writer Moacir dos Anjos has also related Babel to another of Borges's stories, 'The Aleph' (1945), which describes a point where all places in the universe can be seen from every angle. Dos Anjos makes links between Meireles's work and Borges's story, suggesting that both question the 'rigid codes' that govern our perception of the world and 'that are unable to grasp the fluidity with which the body traverses and experiences it' (Moacir dos Anjos, 'Where All Places Are', in Tate Modern 2008, p.170). Dos Anjos suggests that the presentation of informational overload in Babel can be seen as a metaphor 'for the intricate relations between distinct nations and communities' which insists on 'recognising the existence of a territory with uncertain boundaries, one that accommodates multiple oppositions and produces the multiple contamination of cultural expressions previously separated by geographical and historical injunctions' (dos Anjos 2008, p.173).

Babel was included in the artist's retrospective exhibition at Tate Modern, London, in 2008.

Further reading
Guy Brett (ed.), Cildo Meireles, exhibition catalogue, Tate Modern, London 2008, pp.14-5, 57, 168, 170-3, 183, reproduced pp.6, 169.

Tanya Barson
May 2011

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Babel 2001 is a large-scale sculptural installation that takes the form of a circular tower made from hundreds of second-hand analogue radios that the artist has stacked in layers. The radios are tuned to a multitude of different stations and are adjusted to the minimum volume at which they are audible.

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Website Page

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Art - Barbara Kruger - Photograph Collage, Advertising, Slogans, Art

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BarbaraKruger.com is a tribute to Barbara Kruger, the American collage artist famous for her layered photographs. This site contains a store and shop, as well as many links of interest.

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Barbara Kruger - Wikipédia, a enciclopédia livre

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Barbara Kruger ( Newark, 26 de janeiro de 1945) é uma artista conceitual estadounidense. Grande parte do seu trabalho consiste em fotografias em preto-e-branco que são sobrepostas com frases - geralmente em Futura Bold Oblique ou Helvetica Ultra Condensed.

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I could be killed by dehydration if carers don't provide food/water to my bed; homelessness would kill me and I can't rent without paid cleaning.

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Wikipedia

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The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper.

Images made with a camera imply a documentary role. In contrast, camera-less photographs show what has never really existed. They are also always 'an original' because they are not made from a negative. Encountered as fragments, traces, signs, memories or dreams, they leave room for the imagination, transforming the world of objects into a world of visions.

Processes & techniques

Camera-less photographs can be made using a variety of techniques, the most common of which are the photogram, the luminogram and the chemigram. These techniques are sometimes used in combination. Many involve an element of chance.

Chemigram

Chemigrams are made by directly manipulating the surface of photographic paper, often with varnishes or oils and photographic chemicals. They are produced in full light and rely on the maker's skill in harnessing chance for creative effect. Documented experiments are often an important part of the process.

Digital C-print

A print made from digital images using digital printers. Inside such printers, chromogenic (or 'C'-type) photographic paper is exposed to red, green and blue lasers. The paper is then processed in the traditional, chemical-based manner. Images created by camera-less methods can be digitised and turned into C-prints. When processed in this way, camera-less images can be retouched, enlarged and reproduced as multiples.

Dye destruction print

A print made using direct positive colour paper. This paper was originally introduced in 1963 for printing colour transparencies or negatives. It is coated with at least three layers of emulsion, each of which is sensitised to one of the three primary colours. Each layer also contains a dye related to that colour. During development of the image, any unexposed dyes are bleached out (hence 'dye destruction'). The remaining dyes form a full-colour image.

Gelatin-silver print

A print made using paper that has been coated with gelatin containing silver salts. Where light strikes the silver salts, they become dark. The image is then developed out using chemical developer. The paper itself can have a matt or gloss surface, and the image can be toned. Introduced in 1871, the gelatin-silver print is still in general use today.

Luminogram

A variation of the photogram (see below). In a luminogram, light falling directly on the paper forms the image. Objects placed between the light and the paper (but not touching the paper) will filter or block the light, depending on whether they are transparent or opaque.

Photogram

Photograms are made by placing an object in contact with a photosensitive surface in the dark, and exposing both to light. Where the object blocks the light, either partially or fully, its shadow is recorded on the paper.

The term 'photogram' seems to have appeared around 1925. The photogram artist is not able to predict the results in the viewfinder of a camera, and often works in the dark. The final image is only apparent after physical and chemical manipulation or development.
Reading list

Luis Nadeau, Encyclopedia of Printing, Photographic and Photomechanical Processes New Brunswick, NJ (Atelier Luis Nadeau), 1989, and the related website, photoconservation.com

Gordon Baldwin, Looking at Photographs: A Guide to Technical Terms Los Angeles and London (J. Paul Getty Museum in association with the British Museum Press), 1991

This text was originally written to accompany the exhibition Shadow Catchers: Camera-less Photography, on display at the V&A South Kensington between 13 October 2010 and 20 February 2011.

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The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper.

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Nós absolutamente amamos fotografia criativa. Descubra uma variedade enorme de câmeras, lentes, acessórios e filmes para você poder experimentar. Se junte à nossa comunidade divertida, compartilhe as suas fotos fantásticas com amigos e leia as mais recentes dicas fotográficas, novidades e artigos.

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Nós absolutamente amamos fotografia criativa. Descubra uma variedade enorme de câmeras, lentes, acessórios e filmes para você poder experimentar. Se junte à nossa comunidade divertida, compartilhe as suas fotos fantásticas com amigos e leia as mais recentes dicas fotográficas, novidades e artigos.

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I arrived in Warsaw yesterday to participate to a panel mysteriously titled Culture as a space of freedom and anarchy. After which i braved the cold and visited a couple of art spaces. If ever you're in town in the coming weeks, don't miss Where Is the Green Rabbit? which explores the relations between art and science in a remarkably sensitive and humourous way.
Steven Pippin, Mamiya 330 twin lens reflex shot with.25 calibre (self portrait), 2010
One of the most stunning work is Steven Pippin's Point Blank, a series of photos made by cameras recording the precise moment of their own destruction by a gun. I couldn't find many pictures online of the final shots. There are two below but i can't say that they represent the series adequately since the images of the 'death' of a camera looked surprisingly different from one another.

The action takes place in total darkness with the flash being triggered just as the bullet breaks open the analogue camera and hits the negative inside it.
Steven Pippins, Point Blank (detail), 2010 ﻿Setting to realize the Poink Bank series: photo camera, flash, gun and colour photography mounted on aludibond. Photo by Klaus Stöber Steven Pippin, Laundromat-Locomotion (Horse & Rider) 1997 Steven Pippin, Laundromat/locomotion (walking backwards LL04), 1997 Steven Pippin, detail, Laundromat-Locomotion, 1998 Steven Pippins, Point Blank, 2010
Steven Pippin began the series Point Blank, comprising twenty photographs to date, in Wisconsin, USA, in 2010, and continued the series with several experiments in London. Despite the great technical precision that the project requires for its realization, it is ultimately the uncontrollability in the moment of the apparatus's destruction that gives it its special charge. The color prints show abstract shard forms, broken structures, that are somewhat reminiscent of organic ramifications, yet through their artificial chromaticity they also refer to the chemical process used for their creation. In some of the pictures, it is possible to make out the bullet piercing the camera; sometimes in blurred motion, or, as in Deep Field, as an isolated planet in a universe of shattering particles. ( via)

Looking through articles about his work, i realized that Pippin's relentless investigation of the medium of photography is quite brilliant. He spent years turning mundane objects (a refrigerator, bath tub, wardrobe, etc.) into pinhole cameras. He even spent a 55 minute train journey transforming the train lavatory into a photographic studio.

Back in 1997, he converted a row of 12 front-loading washing machines in a New Jersey laundromat into as many cameras. Activated via trip wires, Pippin photographed himself moving through the launderette. In suit, without trousers, with a horse, running, walking backwards, etc. The photos are an homage to Muybridge's explorations of motion through photography. This wasn't Pippin's first use of the domestic device. He had previously developed photographs in the wash and rinse cycles of the machines.

An article in The Guardian explains that Pippin first looked for a suitable laundrette in San Francisco: He discovered that most of the establishments big enough for what he had in mind were run by the Mafia, who used them to (literally) launder money, and they were not interested in this persistent, soft-spoken Englishman bringing them publicity. Eventually, though, after two years of looking, he got permission to use a 4,000sq ft laundromat, as long as he did not get in the way of the customers.

Where Is the Green Rabbit? remains open at the Centre for Contemporary Art Ujazdowski Castle in Warsaw through 15 January 2012.

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The cameras that record the moment of their own destruction

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I arrived in Warsaw yesterday to participate to a panel mysteriously titled Culture as a space of freedom and anarchy. After which i braved the cold and visited a couple of art spaces. If ever you're in town in the coming weeks, don't miss Where Is the Green Rabbit?

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Ryan McGinley: Parsons Commencement Speech, 2014

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Exhibition
John Stezaker

29 Jan - 18 March 2011

British artist John Stezaker is fascinated by the lure of images. Taking classic movie stills, vintage postcards and book illustrations, Stezaker makes collages to give old images a new meaning. By adjusting, inverting and slicing separate pictures together to create unique new works of art, Stezaker explores the subversive force of found images. Stezaker's famous Mask series fuses the profiles of glamorous sitters with caves, hamlets, or waterfalls, making for images of eerie beauty.

His 'Dark Star' series turns publicity portraits into cut-out silhouettes, creating an ambiguous presence in the place of the absent celebrity. Stezaker's way of giving old images a new context reaches its height in the found images of his Third Person Archive: the artist has removed delicate, haunting figures from the margins of obsolete travel illustrations. Presented as images on their own, they now take the centre stage of our attention

This first major exhibition of John Stezaker offers a chance to see work by an artist whose subject is the power in the act of looking itself. With over 90 works from the 1970s to today, the artist reveals the subversive force of images, reflecting on how visual language can create new meaning.

John Stezaker is organised by the Whitechapel Gallery, London, and Mudam, Luxembourg.

With thanks to:

The Approach, London.

Supported by:

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29 Jan - 18 March 2011 British artist John Stezaker is fascinated by the lure of images. Taking classic movie stills, vintage postcards and book illustrations, Stezaker makes collages to give old images a new meaning. By adjusting, inverting and slicing separate pictures together to create unique new works of art, Stezaker explores the subversive force of found images.

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Ver galeria de fotos
Astro Custro, 2012. W.T.

As convenções existem para serem renovadas. Assim, a fotografia não tem limites para Wolfgang Tillmans (Remscheid, Alemanha, 1968), considerado atualmente um dos artistas mais inovadores dessa forma de expressão. E assim ele quis demonstrar por meio da natureza multifacetada de sua obra e por sua preocupação com o processo da própria fotografia. Sua arte trata tanto de sua própria vida como do mundo que o rodeia, bem como da história dessa forma de expressão; questionando de modo recorrente os nossos valores e hierarquias e o valor da fotografia num mundo cada vez mais saturado de imagens.

A Tate Modern dedica uma exposição ao controvertido autor, Wolfgang Tillmans, 2017, concentrando-se em sua produção artística em vários meios; fotografia, vídeo, projeções de slides digitais ou publicações. Um percurso por seus retratos, suas naturezas mortas, suas abstrações, suas paisagens ou suas instalações de conteúdo político, que tem como data inicial o ano de 2003. Ano em que esse artista comprometido (que sempre encontra nas desestabilizadoras mudanças sociais e políticas uma inspiração para o seu trabalho) define como crucial: "Um ano importante quando sentiu que o mundo tinha mudado com a invasão do Iraque e as manifestações contra a guerra", diz o comunicado de imprensa. Esta é a segunda exposição que a Tate dedicada a ele; a Tate Britain apresentou em 2003 If One Thing Matters, Everything Matters, consolidando sua reputação como um dos artistas mais interessantes do mercado.

Ele irrompeu na cena artística no começo dos anos noventa, tornando-se o cronista de uma juventude alternativa, das noites das discotecas da acid house e das marchas a favor dos direitos dos homossexuais. Seus amigos foram retratados nas páginas da revista britânica I-D com um layout arriscado. A fotografia de dois de seus amigos seminus empoleirados numa árvore, Lutz and Alex Sitting in the Trees, se tornaria a definição de uma geração. Essa imagem, que poderia muito bem ser considerada uma fotografia de moda, tornou-se uma exploração poética da identidade. A busca das definições da identidade, bem como a fronteira entre o individual e o coletivo, foi usada em várias ocasiões pelo artista para destacar o que nos une mais do que o que nos separa.

No ano 2000, e com apenas 32 anos, foi agraciado com o Prêmio Turner, que destacou a capacidade do artista em se envolver com a cultura contemporânea, reinterpretando os gêneros do retrato, da paisagem e da natureza morta. Foi o primeiro artista não britânico a receber o prêmio e a primeira vez que um fotógrafo foi premiado. A crítica não demorou a apontar a superficialidade das imagens provocativas que classificou de casuais (apesar de serem cuidadosamente coreografadas) e de tratarem de qualquer coisa. No entanto, o artista não deixou de salientar que suas fotos são uma chamada à observação demorada e à reflexão mediante o uso da intimidade e da naturalidade. Naquele mesmo ano declarou à BBC: "Nunca foi minha intenção provocar o espectador, mas mudar a perspectiva do que é belo e aceitável pela sociedade".

Ele queria ser astrônomo, mas acabou estudando arte no Reino Unido, em Bournemouth. Na adolescência, sentia-se em casa no mundo das estrelas, abstrato para ele. Daí que suas características e sublimes abstrações, como a série Blushes, na qual começou a trabalhar na década passada, estão de alguma maneira ligadas à sua experiência interior. Elas vêm diretamente da câmara escura, onde manipula a luz diretamente sobre o papel fotográfico. Desde que em 1988 comprou sua primeira câmera, vem explorando esse meio de expressão e continua fascinado pela forma como um simples papel fotográfico pode ser transformado num objeto cheio de significado e de incrível beleza. "É apenas questão de uma lente o fato de que uma obra seja abstrata ou figurativa", observou o artista numa entrevista a Jean-Pierre Krief.

Não há nada de casual nos retratos realizados pelo artista, nos quais é projetada a vulnerabilidade e a dignidade do modelo. Ou a delicadeza e a fragilidade do corpo humano, como faz em Collum. Tillmans diz precisar ser tão vulnerável quanto o artista na hora de realizá-los: "Não me interessam retratos em que o fotógrafo não corra tantos riscos quanto o modelo", reconheceu a Krief. Mas o mundo exterior também mereceu a atenção do versátil autor, que ganhou o prestigioso Prêmio Hasselblad em 2015, como evidencia sua série Neue Welt, que retrata a vida em diferentes lugares do mundo, lugares que visitou não à procura de um resultado ou objetivo específico, mas com a esperança de encontrar o que falasse sobre a época em que vivemos.

A inquietude política de Tillmans parece ter aumentado desde 2003. Isso é demonstrado pela instalação Truth Study Centres, que trata do nosso desejo de encontrar uma verdade universal e da impossibilidade de fazê-lo. Através de uma série de recortes de imprensa contraditórios, panfletos e trabalho próprio, o artista nos faz refletir sobre a manipulação das notícias. Cabe destacar sua participação ativa, no ano passado, na campanha contra o Brexit, para a qual criou uma série de cartazes. Para ele, suas imagens são concebidas a partir de dois ângulos diferentes; um puramente formal e visual e outro a partir de uma perspectiva que visa o impacto social e que não é sempre politicamente neutra.

Para o artista, é tão importante a realização da obra quanto sua apresentação. Considera as exposições "experiências públicas", onde põe à prova o funcionamento de uma obra perto de outra. Assim, as obras são apresentadas em diferentes tamanhos, distribuídas de forma pouco usual, às vezes emolduradas e outras não. Suas obras são concebidas como espaços abertos que se completam com o olhar do espectador. Por isso, é este último que coloca o toque final ao espírito inovador do artista.

Wolfgang Tillmans, 2017. Tate Modern. Londres. Reino Unido. Até 11 de junho

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Wolfgang Tillmans, a fotografia sem limites

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As convenções existem para serem renovadas. Assim, a fotografia não tem limites para Wolfgang Tillmans (Remscheid, Alemanha, 1968), considerado atualmente um dos artistas mais inovadores dessa forma de expressão. E assim ele quis demonstrar por meio da natureza multifacetada de sua obra e por sua preocupação com o processo da própria fotografia.

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Threnody Limited edition prints.Threnody, the portraits of hundreds of souls have been captured from tombstones in graveyards across Europe. In a circuitous process, each image has been transformed from the found photographic portrait through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print.

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Eurolab respects the intellectual property rights on the contents of the submissions of the participants. You will retain the rights to it, however you agree that they will become part of larger body of work and broader community and not exclusively yours.

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Find the latest shows, biography, and artworks for sale by Francesca Woodman. Over the course of her brief career, Francesca Woodman produced haunting photog...

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"The series grew out of boredom," Nicholas Nixon said recently of his ongoing long-term portrait project, The Brown Sisters, in which he has photographed his wife, BeBe, and her three sisters every year over a 40-year period. "We'd go down to visit BeBe's parents on weekends. It was kind of boring, a lot of socialising, we were expected to show up for dinner every day ... Out of a friendly desperation, I said: 'Let's take a picture.'"

Nixon met BeBe in 1970, when he was 21 and she was 20. They were married the following year. In August 1974, he took his first group portrait of the sisters, but discarded it as intrinsically uninteresting. The first portrait that appears in his book The Brown Sisters, which is now in its third - expanded - edition, is from 1975, and it shows four fresh-faced young women who each stare at the camera with differing degrees of acceptance.

The following year, after what he tactfully describes as "some degree of negotiation" with his subjects, two of whom wanted to be in the middle of the portraits some of the time, Nixon settled on the order that would define the series: left to right, Heather, Mimi, BeBe and Laurie. He also chose to use an 8x10in view camera on a tripod and black-and-white film. It has been that way ever since.

The series, which showed in its entirety for the first time at the Fraenkel Gallery booth at Paris Photo last week, opens at MoMA, New York this week. It is, among other things, a testament to the power of one great, simple idea. Out of that idea, though, Nixon has made a series with an extraordinary cumulative power that rests on photography's singular ability to capture the passage of time and, with it, human ageing and the lurking shadow of mortality. "We are all aware of time passing and us not being aware of it while it's passing," he has said. "So seeing the sisters, for a lot of people, gives them a reliable marker that a year has passed."

When he took the first portrait, Mimi was 15, Laurie 21, Heather 23, and BeBe 25. The 10-year difference between the youngest and oldest is not so dramatic here, but begins to register in the following years. By 1981, for instance, Mimi still looks like a teenager, though she is 21, while BeBe, sitting slightly behind the other three, looks older and paler, as if she has experienced much more.

That dynamic shifts again in the following year's portrait, in which BeBe looks softer and more at ease, her looks echoing those of Heather, while Laurie and Mimi seem both more defiant and inquisitive before Nixon's camera. (The sisters, interestingly, are the arbiters of each image, with all four having to agree on the choice of photograph every year.)

As with similar projects - Steve Pyke's more obsessive chronicling of his sons Jack and Duncan 's passage from childhood into adulthood, for instance - there are series within the bigger series when time seems to move in surges, so much so that you wonder what may have happened in the intervening year to render an individual face so much older- or sadder-looking. This, too, is one of the powerful undercurrents of The Brown Sisters - the sense that 12 months is just a mathematical marker, and that it is life, rather than time, that makes us all age to different degrees.

But there is - as always with photography - something else going on here, to do with the artist's eye for light, shade and composition as well as the camera's often unforgiving gaze. In Nixon's portrait from 1996, his shadow (and that of his plate camera) falls over the sisters as if alerting us to his invisible and governing presence.

Mimi, as in the very first portrait, still looks defiantly at him as if facing down his camera. In an earlier portrait from 1986, he has moved in close, squeezing the four into the frame. This is perhaps the most tender and intimate portrait of sisterhood in the series, though as they grow older, the bonds between them seem to deepen and their individual expressions soften into another kind of acceptance, more giving than stoical.

There are other intriguing subtexts to The Brown Sisters: namely that Nixon is an only child engaging with a closely bonded set of female siblings, an outsider not just because of his camera and the detachment it confers. Ultimately, though, The Brown Sisters fascinates us because it is a rigorously formal, beautifully executed version of the family photograph - albeit one that hangs on gallery walls rather than a photo album. In these four strangers, we see some semblance of ourselves and our inexorably unfolding lives.

Hanging over the whole project is the big what-if of mortality. What if one of the sisters dies? Will Nixon carry on? He is a photographer, with all the hard-nosed obsessiveness that entails, so the answer is almost a foregone conclusion. "We joke about it," he said recently. "But everybody knows that certainly my intention would be that we would go on forever, no matter what. To just take three, and then two, and then one. The joke question is: what happens if I go in the middle. I think we'll figure that out when the time comes."

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Nicholas Nixon's 40 years photographing the Brown sisters

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The US photographer has taken a portrait of his wife BeBe and her three siblings every year since 1974, making us confront the passing of time, family ties and our own mortality, writes Sean O'Hagan

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Dedicated to the Unknown Artists 1972-1976 305 postcards, charts, maps, one book, one dossier, mounted on 14 panels Each: 26 1/2 x 41 1/2 in. / 66 x 104.8 cm

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O Artload dissemina ideias para promover o acesso à arte por meio de vídeos exclusivos, armazenados em um valioso banco de dados. No Artload você vai descobrir o que as pessoas fazem pela arte.

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pdf

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Livro pdf "A História da Arte" - E.H GOMBRICH

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Salve pessoas! Segue o link do livro que usaremos no decorrer do ano letivo de 2017 na disciplina de História da Arte. Divirtam-se! B...

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On Kawara: Date Paintings | The Guggenheim Museums and Foundation

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Guggenheim curator Jeffrey Weiss and curator Kasper König discuss On Kawara's Today (1966-2013), an extended series of paintings of dates produced according to a strict set of rules.

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CFile - Contemporary Ceramic Art + Design

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This is CFile's third post looking at the presence of clay and ceramic mediums in last year's Venice Biennale. Fischli and Weiss' installation Suddenly this Overview (1981/2006) is exactly the kind of work that sets the more traditional side of the ceramics world on edge because it seems too rudimentary, unskilled, and naive. In part, this reaction is due to the fact that this contingent views each of the 130 small sculptures as a final product, a finished object. But that is not the Swiss duo's aim nor what interests them. Suddenly this Overview is, in essence, a performance piece and clay sketches merely document the process of thought. Releasing their work from objecthood allows it to live in the world of ideas.

Fischli and Weiss aren't tricksters, concerned with what they can get away with or what can be considered art: though they often employ mundane, everyday materials and wit and humor are in large supply in their work. High and low aren't concepts to be pitted against each other but rather the nature of life, which is the subject of their work and this piece. Peter Fischli (b. 1952) and David Weiss (1946-2012) made their artistic debut was with Suddenly this Overview at the Galerie Stähli, Zurich in 1981. The piece, which spanned from 1981 to 2006, consists of around 200 hand-modeled unfired clay vignettes. Tiles range from the epic and ephemeral like, Mick Jagger and Brian Jones going home satisfied after composing I Can't Get No Satisfaction and Herr and Frau Einstein shortly after the conception of their son, the genius Albert to the straight forward, Rock Crystal and Loaf of Bread.

When the piece was shown in Fischli and Weiss' retrospective, Flowers and Questions, at the Tate Modern in 2006 the duo described it thus:

The intention was to accumulate various important and unimportant events in the history of mankind, and of the planet - moments in the fields of technology, fairy tales, civilization, film, sports, commerce, education, sex, biblical history, nature and entertainment. David Weiss

The viewer cannot simultaneously take all the sculptures or all the stories into account...The title [Overview] describes the opposite of what is actually the case: the confusion and the swamp and the simultaneity of these things. Peter Fischli

This retrospective traveled to the Kunsthaus Zürich and the Deichtorhallen Hamburg and in 2008 it was transformed into Other Flowers and Other Questions by the curators Massimiliano Gioni, Bice Curiger and Vicente Todolí, at the Palazzo Litta in Milan. Massimiliano Gioni curated the 2013 Biennale and Suddenly this Overview was a perfect fit for his theme, Il Palazzo Enciclopedico (The Encyclopedic Palace).

Fischli and Weiss may be best known for their 1987 film, The Way Things Go, a series of extremely long takes of Rube Goldberg-like contraptions assembled from household items and studio detritus in action. (You can find a link to an excerpt of the film below.) The action is slow but there are excruciating periods when the viewer on pins and needles wondering if the full trash bag held up by a rope will keep unwinding in such a way as to start the tire down the makeshift ramp that will allow the continuously precarious sequence to continue.

In Richard Dorment's review of Flowers and Questions that appeared in The Telegraph on October 8, 2006, he described the video-and their work-this way:

And in their best-known work, The Way Things Go, they attempt to make the debris lying around their studio move by setting off a series of chain reactions, rolling an old tire down a ramp that turns over a bottle that spills flammable liquid that catches fire and burns a string that holds up a chair that crashes to the floor. The whole sequence lasts four seconds, or less. This is art as goofing around, the kind of thing bored teenagers get up to on a rainy afternoon. But a recently rediscovered film showing the artists at work on The Way Things Go reveals how hard they had to work - and how often they failed - in order to get their inert materials to move at all....Fischli and Weiss are secular saints. They efface their own egos to show us the wonder and beauty of life. The moral heart of their work is the simple proposition that, if looked at correctly, virtually everything in the world is miraculous.

The work of Fischli and Weiss has been exhibited at major museums and biennials around the world. The artists represented Switzerland at the Venice Biennale in 1995 and were awarded the 2003 Golden Lion for Questions (1981-2002), an installation of more than a thousand existential queries collected over several years. Fischli and Weiss also took part in Documenta 8 (1987) and Documenta 10 (1997). Their retrospective In A Restless World was organized by the Walker Art Center in 1996 and traveled to San Francisco, Philadelphia, and Boston. In 2006 Tate Modern presented another retrospective, Flowers and Questions, which traveled to the Kunsthaus Zürich and the Deichtorhallen Hamburg. More recently, they participated in Venice's 2012 Architectural Biennale and have had exhibitions at the Art institute of Chicago (2011) and the Serpentine Gallery, London (2013). Peter Fischli lives and works in Zurich.

Amy Albracht is the General Editor at CFile.

Above image: Fischli and Weiss, Brunelleschi Invents Perspective from Suddenly this Overview, 1981-2006. Courtesy of the artists and Matthew Marks Gallery.
Visit Peter Fischli David Weiss at Matthew Marks Gallery Visit the Venice Biennale Watch an excerpt of their film, The Way Things Go, courtesy of Tate Modern, London

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Exhibition | Clay by Fischli and Weiss at the Venice Biennale | CFile - Contemporary Ceramic Art + Design

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This is CFile's third post looking at the presence of clay and ceramic mediums in last year's Venice Biennale. Fischli and Weiss' installation Suddenly this Overview (1981/2006) is exactly the kind of work that sets the more traditional side of the ceramics world on edge because it seems too rudimentary, unskilled, and naive.

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Fischli and Weiss, The Russians Send the First Rocket into Space

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Fischli and Weiss, The Russians Send the First Rocket into Space

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from Suddenly this Overview, 1981-2006

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'I found my voice as an artist when I stepped on a dead sparrow on a street in Paris in 1971," recalls French artist Annette Messager, whose work is the subject of a retrospective exhibition opening Thursday at the Los Angeles County Museum of Art. "I didn't know why, but I was sure this sparrow was important because it was something very fragile that was near me and my life.

"Like the people I love, these small birds were always around me, yet they remained strange and mysterious. So I picked up the sparrow, took it home and knit a wool wrap for it. Why? I can't say. You want to do something and don't know why--all you know is that you have no choice, that it's a necessity."

That sparrow was the first in a "family" of dead sparrows that Messager collected, preserved and clothed for presentation in "The Boarders" ("Les Pensionnaires"), a haunting, morbidly funny work completed in 1972 that was to launch her career. Messager baptized her sparrows, created devices to discipline them and take them for walks, made an alphabet of feathers to teach them language, and displayed them in orderly rows. The roots of much of Messager's subsequent work can be found in "The Boarders," which incorporates allusions to the need for control, women's handicrafts, fetishism and fakery, the act of collecting and cataloguing, the experience of loss and mourning, and fictional narrative.

Regarded in Europe as one of the key artists of her generation, Messager has exhibited regularly there for 22 years, but remains largely unknown in this country. She has, in fact, never had an L.A. exhibition before the LACMA show, which includes 58 works and three site-specific installations dating from 1971-95.

That the show was co-curated by LACMA associate curator of 20th-Century art Carol Eliel and Sheryl Conkelton, associate curator of photography at New York's Museum of Modern Art, is indicative of the complexity of Messager's work. Photographs--some that she takes, many more that she appropriates--play a central role in her work, and she's often described as a photographer. She, however, insists that she is not, and summarizes photography as "the horror of time reduced to a quarter of a second"; traditional photographic concerns clearly aren't what's driving her.

The LACMA show, which travels to New York's Museum of Modern Art and the Art Institute of Chicago after closing here Sept. 3, is a fairly splashy debut for a woman who describes herself as shy, and one gets the impression it all makes her a bit nervous. Meeting with the 52-year-old artist in a Greek restaurant near LACMA, one encounters a decidedly French woman--which is to say she's graceful, beautifully dressed, and she smokes. Soft-spoken yet strongly opinionated, Messager seems to visibly wince when asked pointed questions about her work, which she designs to operate in a zone of mystery and intuition. Being interviewed leaves her so distracted she hardly touches her lunch.

The label most often affixed to Messager's work, which often deals with the subjugation of the female body, is feminist; this is a tag she both accepts and rejects.

"I'm reluctant to call my work feminist because in France feminism is different than it is here. American feminism is much more dogmatic," says Messager, who lives outside Paris in Malakoff with her companion of 22 years, artist Christian Boltanski. "France is a Latin country where machismo is important, but it's also the country of Simone de Beauvoir. It's a country of contradiction with a strong sense of tradition, and French feminism tries to integrate the past into the present. I don't go to rallies and speeches--my feminism is deeply embedded in my work."

Rejecting the hubris central to much European art of this century, Messager chooses instead to ruminate on the secrets of women, on the private rituals and ablutions they devise in order to maintain a sense of themselves in a world of male privilege. Hers is an aesthetic rooted in the accumulation of small things rather than the grand statement, and as can be said of work by the great poet of the ephemeral, Joseph Cornell, her art shimmers with a bittersweet, heartbroken beauty.

Disdainful of the notion of "good taste" and drawn to things usually dismissed as unworthy of attention, Messager fashions her mixed-media works from materials common to the average home: thread, hair, glue, safety pins, fabric, photographs, stuffed animals, clothing, dolls. From these humble materials she's developed a style rooted in the Structuralist belief that context is the most powerful factor in the creation of meaning.

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ART : A Private World of Women : Annette Messager makes art about women's rituals, the secrets they develop in a world of male privilege. Just don't call her a feminist.

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'I found my voice as an artist when I stepped on a dead sparrow on a street in Paris in 1971," recalls French artist Annette Messager, whose work is the subject of a retrospective exhibition opening Thursday at the Los Angeles County Museum of Art.