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It is a beautifully illustrated manuscript created in the German city in the mid-16th Century but only recently discovered. It has a lot of different "tales" that tells us stories about the end of the world. They explain this end of the world through folk stories, natural disasters, religion, fanciful situations, fantastic beasts and even human disturbances. The book counts with beautifully drew illustrations which stand out by the use of bright colors

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Giant locusts swarm around a jagged aquamarine mountain. Great whales and strange beasts flounder amid stormy seas. Inky skies rain hailstones and blood. These bizarre and terrifying visions are found in the Augsburg Book of Miraculous Signs, also called the Book of Miracles. It is a beautifully illustrated manuscript created in the German city in the mid-16th Century but only recently discovered and now collected in a new edition, by Till-Holger Borchert and Joshua P Waterman.
Golden balls
"I remember that when I first saw the images in the flesh," Till-Holger Borchert tells BBC Culture, "I was awestruck by the very touching combination of simplicity and beauty in systematically depicting catastrophes of all times."

"These stunningly vivid pictures must certainly have imparted to those readers first seeing them a sense of awe at the progression of disasters and wonders from the beginning of history to the end of time, as then understood," writes Waterman. The first half of the book concerns the Old Testament, while the second spans from antiquity through to the mid 1500s, when the book was produced. It ends with stories from the Book of Revelation.
Feel the burn
Each image, such as 1009 - Burning torch, is accompanied by a caption that leaves no doubt as to its grim message: "In the year AD 1009, the sun went dark and the moon was seen all bloodred and a great earthquake struck and there fell from the sky with a loud and crashing noise a huge burning torch like a column or a tower. This was followed by the death of many people and famine throughout Germany and Italy. More people died than remained alive."

By drawing from ancient, biblical and contemporary traditions of prophecy in roughly chronological order, The Book of Miracles follows an established structure similar to other contemporary books of wonders. It's a tradition that highlights the period's ordering of history through the prism of apocalyptic signs and visions. "When studying this one-of-a-kind series of illustrations," Waterman says, "it's important to keep in mind the structuring principle of Christian world history."

"The 16th Century's obsession with miraculous signs has its primary origin in religion, specifically in the upheavals of the Protestant Reformation," he notes. Borchert agrees. "The late medieval councils had left Christendom in an insecure state, and the Reformation tried to fill the void," he explains. "There was a general sense and urgency concerning the afterlife and the best way to secure one's fate." A widespread and imminent sense of disaster "created a sphere of anxiety in which those miraculous signs played an important role."
The 'Papal Ass'
Many of the book's images, such as the 1496 Tiber monster, have their origins in contemporary folklore: a monster was said to have been found in Rome on the banks of the Tiber after a flood of 1496. But, Waterman says the beast is also "the prime example" of phenomena that he says were "put to propagandistic or polemical use." In 1523, Martin Luther and his colleague Philipp Melanchthon published a pamphlet in which they depicted the donkey-like creature as the 'Papal Ass', to represent the corruption of the Roman Catholic church.

"Scholarship has identified a strong apocalyptic slant in the thinking of Martin Luther and in early Lutheranism in general" Waterman explains, "fueled in part by a belief that the antichrist was present on earth in the person of the Pope."

But although apocalyptic Lutheranism helps to place The Augsburg Book of Miracles firmly in its time, Luther's polemical version of the Tiber monster story, Waterman explains, is entirely absent from the document. "Augsburg was a free imperial city, thus directly subordinate to the Holy Roman Emperor... For that reason, anti-Catholic polemics were in no way advantageous to Augsburg's elites."
The Lisbon whale
"In the year 1531, on the twentysixth and the twentyeighth of January, bloody and fiery signs were seen at night in the sky in Lisbon in Portugal on the twentysixth day and then on the twentyeighth a great whale was seen in the sky. This was followed by great earthquakes, so that about two hundred houses collapsed and more than a thousand people were killed."

The 'Lisbon whale' demonstrates how stories were disseminated across Europe through media including letters and pamphlets, in what Waterman describes as "the earliest forms of modern news networks," that ran along existing trade routes. He cites the 'Fugger newsletters' ( Fuggerzeitungen), named after the Augbsurg-based Fugger family, as the prime example of "handwritten newspapers with reports of noteworthy events in Europe and abroad, including disasters and miraculous phenomena." The sighting of the Lisbon whale, which was followed by several disasters, is one such story where the news was first transmitted by letter and then into print and illustrated media, including the Augsburg Book of Miracles.
Celestial creatures
" In the year 1506, a comet appeared for several nights and turned its tail towards Spain. In this year, a lot of fruit grew and was completely destroyed by caterpillars or rats. This was followed eight and nine years later, in this country and in Italy, by an earthquake, so great and violent that in Constantinople a great many buildings were knocked down and people perished."

A contemporary preoccupation with astrological prophecy helps to explain why documents such as the Book of Miracles abound with suns and moons, and particularly comets, which were in antiquity considered harbingers of doom. "Authors such as Johannes Virdung von Haßfurt (1463-1538/39) published yearly predictions of world affairs based on sightings of comets and conjunctions of celestial bodies," writes Waterman, and he notes that along with a "treatise" on the subject published around 1587 in Flanders, the Augsburg Book of Miracles represents the largest early collection of comet pictures.

The comet images in the Book of Miracles often appear accompanied by natural disasters such as earthquakes, floods and plagues which Waterman explains were all "understood as part of a continuum of divine omens that foretold the coming apocalypse and called upon humanity to do penance for their sins."
All hail!
"In AD 1552, on May 17, such a terrible storm with hail descended on Dordrecht in Holland, that the people thought the Day of Judgement was coming. And it lasted about half an hour. Several of the stones weighed up to a few pounds and 8 lot. And where they fell, they gave a frightful stench."

The hailstorm that visited the town of Dordrecht in 1552 is the most recent of the events noted in the Augsburg Book of Miracles. The illustrations of violent hail and snowstorms are considered some of the earliest depictions of weather in German art.

"It was not uncommon for extreme meteorological phenomena such as hail, snow and ice to devastate crops and lead to famine and epidemics in their own right," writes Waterman. It is therefore understandable that these wild and devastating natural disasters would be linked with the apocalyptic consciousness of the era.
Fantastic beasts
The final section of the book, inspired by the prophecies of the Book of Revelation, is to Waterman, "a clear example of how wondrous phenomena fit within a comprehensive ordering scheme of world history, understood as a progression from God's act of creation to the second coming of Jesus Christ."

The Augsburg Book of Miracles is a fascinating glimpse into an atmosphere of superstition and apocalyptic prophecy. But rather than dismiss these views as bizarre medieval preoccupations, Waterman argues that "it's easy empathise with the 16th Century's efforts to understand strange, inexplicable, or disastrous events in the world, even if our modern understanding is drastically different."
Age of anxiety
And, in that society's "sphere of anxiety", Borchert sees some parallels with today, in that "every extreme weather phenomenon is hailed in news as proof of climate change and these days, every attack everywhere is almost instantly linked to terrorism."

Yet this concern with weather and natural phenomena provides a more concerning link between the mid-1500s and today, Waterman says. "Thinking about environmental catastrophes back then and now, one becomes aware of a cruel irony: whereas human sin was once blamed for floods, storms, and droughts, only to have been replaced by scientific explanations after the Enlightenment, we have now, with global warming, come full circle."

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The eerie historical visions that predict the apocalypse

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Giant locusts swarm around a jagged aquamarine mountain. Great whales and strange beasts flounder amid stormy seas. Inky skies rain hailstones and blood. These bizarre and terrifying visions are found in the Augsburg Book of Miraculous Signs, also called the Book of Miracles.

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The first descriptions of an camera obscura were made by Aristoteles, who observed that if light entered through a small hole in a dark room it produced an image of the exterior on the opposite wall of the orifice. He also noted that this image was inverted and that its size increased as the exposure surface moved away from the hole. Later, the camera was transformed in a drawing machine by Leonardo Da Vinci and it was reduced to a portable box (this procedure was use by a lot of diffent artists like Vermeer and Canaletto)

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It was an optical toy created by William George Horner, consisting of a circular drum with small windows cut out . When the viewer look through them, he sees drawings arranged in strips. While turning, the barrel creates an illusion of aparent motion.The Scottish physicist James Clerk Maxwell improved Horner’s original design by introducing concave lenses to the slits, eliminating distortio.

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Zoetrope is an an animated vintage toy that was originally developed in 1830s. The Zoetrope has recently been a major feature in the film, "The Woman In Black" starring Daniel Radcliffe.

This is a modern replica of a traditional Zoetrope. A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures.

The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion.

Just insert an animation strip, spin the drum and look through the slots. The pictures instantly spring to life! Eagles flap, Orcas dive, frogs jump and more! Change the 18 included picture strips at will. Then, try sketching on the six included Draw-Your-Own strips. Anyone can be an animator! Our Zoetrope's compact elegance and smooth performance remains unmatched in the world of animation toys. Originally designed by Fred DaMert and Bill Hanlon in 1992 and sold by the DaMert Company, this timeless favorite has been off the market for years. Now, with Fred's blessing, we've proudly brought it back. Not only did we use the original tooling to make this durable plastic toy, we've faithfully reproduced and included the original twelve picture strips designed by celebrated animator Ruth Hayes. And that's not all. We've added six NEW picture strips and six "Draw-Your-Own strips!" The included instruction booklet provides a history of this classic invention, explains how it works, and tells you how to bring your own drawings to life.

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Zoetrope is an an animated vintage toy that was originally developed in 1830s. The Zoetrope has recently been a major feature in the film, "The Woman In Black" starring Daniel Radcliffe. This is a modern replica of a traditional Zoetrope. A zoetrope is a device that produces the illusion of motion from a rapid succession of static pictures.

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Invented by the french Émile Reynaud, it was in the beginning made of a biscuit box and a single mirror. Later, when he saw it actually work, he made an official version made of a system with lots of mirrors and a lantern for projection. The difference between the praxinosxope and the zoetrope is that the pictures were viewed in succession by reflection from a series of narrow vertical mirrors placed at the center of the drum. The drum is spun by hand, and the drawings comes to life. Also, its construction is more accurate so the advantages are are real, you don't have to worry about tired eyesight and there is a minor blur of what is presented in the animation.

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This early optical toy is in the Wileman Collection of the North Carolina School of Science and Mathematics in Durham.

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This was the first mechanism ever created associated with image, a dutch scientist created it projecting peaches with a candle. People used to associate it with alchemestry because they didn't understood how it worked. The difference between the camera obscura and the magic lantern is that the camera obscura takes the images from the inside to the outside, the sun and the landscapes projected by the camera are replaced in the magic lantern by artificial elements (a lamp and a painted glass plate. The artificial light from the lamp passes through the glass plate, then through the lens, to project the inverted image (top to bottom) on a glass screen or an external surface. The advantages that can be obtained by this mechanism is the projection and overlap of images - by that time, this was really shocking.

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National Film and Sound Archive of Australia (NFSA)

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Is an ancient art originating in China, usually the storys told in this kind of theatre were folk tales or legends of the past, many based on opera themes. As it gained fame, it spread all over the world. Traditional shadow puppets are flat and made of leather. Areas within the puppet are punched out with sharp knives. These areas suggest facial features and help define clothing. The puppets are made from separate pieces and joined together with wire or string. They are controlled by long rods and moved behind a white translucent screen made from paper or cloth. A lamp on the puppeteer's side of the stage provides the light: the audience on the other side sees the moving shadows. Cut-out areas within the figures allow light to shine through. Nowadays, with all the modern elements and with the knowledge we have, the contemporary shadow theatre can count with a variety of materials and with the mechanical part like lighting effects, projections and things like that.

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Oregon Shadow Theatre: What is Shadow Puppetry?

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This book shows photographys of the artist who lies face down in empty rooms, houses, casxtles, gardens, on beaches, fields, oceans and bridges, daring the viewer to decide, is she sleeping, dead or just joking. What I liked the most was how she placed the photos in the pages and of course all the photos are amazing, I have never heard of her before, for sure it is going to be a reference for me.
This is one of the books at the IMS collection.

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She was an american nanny who took pictures during her spare time, during her lifetime her work was unknown and unpublished. The interesting thing is that when you see her photographs you can notice a lot of technique, she knew what she was doing and that is absolutely amazing. Of course, we are talking about a woman who took over 150,000 photographs, she absolutely knew what she was doing, but nowadays, even with the automatic cameras we have, there are people who don't know how to take pictures.

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One of the things that Foundation gave me was the pleasure to know Cartier-Bresson, he is easily one of my favorite photographers nowadays, but I've realised I don't know much about him, so I decided to make a small research about him. He was one of the pioneers of the street photography, he was a person who knew the direction photography was going to take, because he was already in the art world, he was part of a group of surrealistic artists. He knew art was changing and photography needed something new too. The historian Peter Galassi said "The Surrealists approached photography in the same way that Aragon and Breton...approached the street: with a voracious appetite for the usual and unusual...The Surrealists recognized in plain photographic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, especially when uprooted from their practical functions, contain a wealth of unintended, unpredictable meanings."

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In typography, a serif is a small line attached to the end of a stroke in a letter or symbol. The reason they have these tiny feet is actually because of stone carving. Back in the days when people needed to carve out Latin letters in stone, the designer would usually paint the letters they wanted with a paintbrush. But the stonemasons would have to carve it out from that painting. And that stone carving created these serifs on the letters.People tend to use Serif typefaces for something quite serious. This is because of their traditional and conservative look. Also, they are divided in four groups: Old Style, Transitional, Modern and Slab-Serif.

A typeface without serifs is called sans-serif (from the french "sans" means without), they don't have any decorative elements either. Sans-Serif is slightly more modern than the serifs. They’re also subdivided into four families: Grotesque, Neo-Grotesque, Humanist and Geometric. Sans-Serif have slightly increased readability compared to Serifs. Which is why Sans-Serif is a great typeface for the body of text.
https://medium.freecodecamp.org/how-typography-determines-readability-serif-vs-sans-serif-and-how-to-combine-fonts-629a51ad8cce

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In writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. The origin of typographical ligatures comes from the invention of writing with a stylus on fibrous material (like paper) or clay. Medieval scribes who wrote in Latin who needed a way to speed up the process of written communication found that conjoining letters and abbreviating words for lay use was more convenient for record keeping and transaction than the bulky long forms. There were people who also did that for aesthetic purposes. In hand writing a ligature is made by joining two or more characters in atypical fashion by merging their parts or by writing one above or inside the other. While in printing, a ligature is a group of characters that is typeset as a unit, and the characters do not have to be joined.
https://en.wikipedia.org/wiki/Typographic_ligature

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In typohraphy, the x-height is the distance between the baseline and the mean line of lower-case letters in a typeface. Typically, this is the height of the letter x in the font, as well as the v, w, and z. One of the most important dimensions of a font, x-height is used to define how high lower-case letters are compared to upper-case letters. Typefaces with large x-heights may appear darker, heavier, crowded, and more difficult to read at body copy sizes.
https://typedecon.com/blogs/type-glossary/x-height/

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Cap height is the height of a capital letter above the baseline for a particular typeface. For small letter it is used the x-height.
https://typedecon.com/blogs/type-glossary/cap-height/

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Is the curved part of the character that encloses the circular or curved parts of some letters such as d, b, o, D, and B.  The curved strokes of a C are sometimes also referred to as bowls although they aren’t closed.
https://typedecon.com/blogs/type-glossary/bowl/

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Is the upward vertical stem on some lowercase letters, such as h and b, that extends above the x-height. The ascenders of some letters may touch or almost touch letters in the line above causing awkward or distracting patterns.
https://typedecon.com/blogs/type-glossary/ascender/

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Is the distance between two baselines of lines of type aka line spacing. The term leading is derived from the practice of placing lead strips between lines.
http://mmprint.com/blog/2011/typography-kerning-leading-tracking/

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Is the process of adjusting the spacing between characters in a proportional font, usually to achieve a visually pleasing result.
http://mmprint.com/blog/2011/typography-kerning-leading-tracking/

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Tracking is very similar to kerning in that it is the spacing between individual characters, but tracking is the space between groups of letters rather than individual letters. Tracking will help to eliminate widows and orphans in paragraphs.  Widows are when the final line of a paragraph begins a new column or page.  Orphans are when paragraphs end in single words, part of words or a short phrase that seems out of place.
http://mmprint.com/blog/2011/typography-kerning-leading-tracking/

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Is a typographic unit of measure corresponding to approximately ​¹⁄₆ of an inch, or ​¹⁄₇₂ of a foot. One pica is further divided into 12 points. The pica is also used in measuring the font capacity and is applied in the process of copyfitting (is the process of ensuring that a block of text isn't too long or too short to fit the space alloted for it in a document). The font length is measured there by the number of characters per pica.

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The point is the smallest unit of measure. It is the measurement most commonly used in print to indicate the size of type, as well as the space between lines, referred to as line spacing or leading. In some instances, points are also used to measure the width and depth of a column.  It has varied  throughout the history of printing from 0.18 to 0,4 millimiters.

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He is iconic speaking about typography. There are people who don’t like his work because it can be a little messy, but I like the mess. He discards all king of rules and standarts, he doesn’t care about grids and spaces, he likes to create an organized chaos because the postmodern world is too complex to deal with all this. Carson got really famous because of his job as art director in Ray Gun magazine, it was the cool magazine of the nineties which dealt with themes such as music and icons cultures. They used typographical illegibility as a form of freedom so Carson was able to create a new aesthetic language that broke with all the principles in the mass media until then.
http://desinteracao.tumblr.com/post/42733771052/david-carson-e-o-design-desconstrucionista/amp

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Andy Warhol, consigned 300,000 of his everyday possessions to sealed cardboard boxes. The boxes stays at his home in Pittsburgh and people pay 10 dollars to see what is inside those boxes. There are 610 boxes filled with stuff Warhol collected over the course of the last 13 years of his life. They contain hundreds of thousands of objects, artefacts as the curators know them - a Work of Art, according to Warhol. Interesting fact is that Warhol actually worried about the content of those boxes, his personal assistant said it was a selection and that the artist knew exactly which thing was going to which box ("All the times I was helping him packing and sealing them, it's not like he'd just throw stuff in. It was, like, this goes here, this goes there."). There was no concern about which object to put, it was all worth, but each thing had its purpose. He made this boxes to leave a certain legacy, in an interview he said that everything he did was somehow linked to death.

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Thirty years ago, Pop-Art's bad boy, Andy Warhol, consigned 300,000 of his everyday possessions to sealed cardboard boxes. Now, as the final boxes are opened for the first time, what do they tell us about the man who turned Campbell's soup tins into art?

It's a stuffy summer evening on Pittsburgh's unfashionable North Shore. Cars jam the freeway, thanks to endless repairs to the crumbling flyovers. This famous old US industrial city is showing its age.

But in the shadow of the highway spaghetti lies another world - the ultra-cool converted warehouse that houses The Warhol. Seven floors devoted to Pittsburgh's most illustrious artist-son, Andy Warhol, master of gaudily-coloured multiple Marilyn Monroes, Elvis Presleys and cans of soup.

Here, at The Warhol, splendour reigns - museum-perfection. Air-conditioned to a nicety, slate-grey floors, gleaming gift-shop, walls papered with multiple images of pink Warholian cows.

And in the luxuriously appointed studio theatre, a buzz of expectation.

The place is full to bursting with fans, acolytes and casual drop-ins. Everyone has paid their $10 (£6) for the privilege of seeing inside the humdrum cardboard box that sits, very alone, on a table on stage.

Because this, as a hand-scrawled label announces, is TC 528. It's the last-but-one of 610 mystery parcels or Time Capsules that Andy Warhol sealed up over the course of the last 13 years of his life. They contain hundreds of thousands of objects, artefacts as the curators know them - a Work of Art, according to Warhol.

Or rubbish, as you and I would doubtless consider them. Because the 608 Time Capsules that have already divulged their contents and are in the process of being catalogued and preserved by The Warhol's staff include everything from flyers from galleries, junk-mail, fan-letters, gallery-invitation cards, unopened letters, solicitations for work, freebie LPs, a lump of concrete, eccentric pornographic assemblages by Warhol's friends and associates, thousands of used postage stamps that the artist tore from envelopes, packets of sweets and - inevitably - unopened Campbell's soup tins, by now rotting and hard to preserve.

And then, in the really unsavoury corner, toenail clippings, dead ants, a mummified foot and used condoms.

But there are also strips of photobooth photographs that Warhol took to create his celebrated portraits and some original completed pieces by him that, for whatever reason, he chose not to exhibit.

"It's a selection," says Benjamin Liu, who was personal assistant to Warhol and who's here tonight for the unveiling of TC 528.

"All the times I was helping him packing and sealing them, it's not like he'd just throw stuff in. It was, like, this goes here, this goes there. The Time Capsule is also a source-material for a lot of his work. Even the personal stuff that people sent to him, he might look at it and go: 'Maybe that could be so-and-so'."

On stage tonight at The Warhol, the audience - and Benjamin Liu - are watching carefully as the first objects are lifted, like some priceless golden treasure from an Egyptian tomb, by the blue-latex-gloved hands of chief cataloguer Erin Byrne.

There's something more than faintly absurd in the fact that what she's holding is no gilded helmet or obsidian amulet, but a pile of Christmas wrapping paper, a greetings card from Mick Jagger and Jerry Hall and - to his surprise and the audience's hooted amusement - a metallic belt buckle ("very camp!" whispered one spectator to me) that had been sent to Andy by a certain Benjamin Liu, standing onstage tonight. Sent, that was, of course, as a Warhol fan, long before he had had his 15 minutes of fame as part of the Warhol menage.

"There is an element of surrealist about Warhol. These odd, disparate objects put together have a kind of curious poetry," says British art historian Tim Marlow.

"But he is an archivist and a collector and someone who understands 'product' and is fascinated by it, and these are assemblages of that. And they're still-lives as well."

In the 1950s Warhol earned a living as a commercial graphic artist, which may be one reason why he is fascinated with mass-produced images and goods - and why advertising, packaging, and things drawn from the surface of everyday life became the warp and weft of his creative work. As history knows, those cans of soup, the multiple Elvises and Marilyns are his Pop-Art trademark.

"I think with Warhol, broadly, the joke's on us," says Marlow. "The joke's on our culture, but we're complicit in that. We are not being laughed at - we join in the laughter."

Another perspective comes from the late Malcolm McLaren, an ardent fan. According to him, "Andy's adage was, 'I can simply be an artist without doing any art: I am the art.'"

But above all, says Marlow, the Time Capsules - started long after Warhol nearly perished when, in 1968, one of the peripheral figures from The Factory took a potshot at him - are essentially about death. "He said, 'Everything I do is concerned with death,' and I think the 'celebratory' portraits (of Marilyn, Elvis etc) deal with death, and so do the Time Capsules."

You can hear an echo of this too when, in 1981, Warhol was asked whether he minded getting older. "Oh no," he said, "I'm old. They call me 'granny'. They say I'm old. They're just mean!" He was 53.

In The Warhol's theatre, the blue-gloved archivists have done their stuff. The contents of TC 528 lie strewn across the examination tables on stage.

What does it all amount to? So much rubbish - greeting cards, business cards, an ashtray lifted from a fashionable restaurant, a photograph of Elvis Presley, Christmas wrapping paper and ribbon, a "do-not-disturb" sign from the Beverly Wilshire Hotel. Yet Warhol - ahead of his time in so many ways - selected these objects with care, chose to give them their own 15 minutes of fame. Not for nothing was one of his most celebrated films entitled Trash.

And clearly someone thinks they have inherent value. He or she has just paid the astonishing sum of $30,000 (£19,000) to be the one to open the very last Time Capsule of all.
Listen to Andy Warhol: Time Regained on Thursday 11 September at 09:00 BST and 21:30 BST on BBC Radio 4 or catch up on Subscribe to the BBC News Magazine's email newsletter to get articles sent to your inbox. iPlayer

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The secrets of Andy Warhol's time capsules

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Thirty years ago, Pop-Art's bad boy, Andy Warhol, consigned 300,000 of his everyday possessions to sealed cardboard boxes. Now, as the final boxes are opened for the first time, what do they tell us about the man who turned Campbell's soup tins into art? It's a stuffy summer evening on Pittsburgh's unfashionable North Shore.

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This project was created aiming the worldwide problem of lack of place to park the car.  Parr has photographed the last car parking spaces in more than 28 different countries. This is just one of the problems that we have today with the globalisation. In this video below he is talking about this particular project and he says that it's all about a concept, it wasn't actually the last parking space, but it was about the idea of the project. He also explains why this kind of photgraphy is unusual considering the fact almost all of them have an advertising or aesthetic purpose. He wanted to transmit a message doing something that he likes.

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In January 2010 second year students from Documentary Photography, along with a small group of students from our partner institution, The Royal Academy in Holland, participated in ‘Network Week U.K’.

‘Network Week U.K’ is a weeklong series of visits to many of the UK’s leading photographers and photographic institutions. This is a great opportunity for the students to have firsthand experience of some of the work methods and business practices of these eminent individuals and institutions. This is an annual event, which was preceded by our students participating in a series of similar visits to eminent Dutch practitioners in Holland. The UK visits included visits to the following people:

Anna Fox, Martin Parr, Nigel Shafran, Magnum, Karren Knorr, Brian Griffin, Mark Power, Clare Strand, Photoworks, Simon Norfolk, Victoria and Albert Museum, The Photographers Gallery, Simon Roberts, Boot Books, Smith Design, Val Williams, Am Nuden Da, Broomberg and Chanarin, Stuart Griffiths, Foto 8, Wyatt Clarke Jones, Jocelyn Bain Hogg, Adam Hinton, Tom Hunter,Melanie Friend, David Moore, Marco Santucci, Andrew Buurman and Ed Clarke.

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Susan Hiller: Dedicated to the unknown artists

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Susan Hiller: Dedicated to the unknown artists

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It consists of fourteen panels containing over three hundred original postcards depicting waves crashing onto shores around Britain. She said her role in that exposition was as a curator collaborating with the work of unknown artist who did the postcards from the Rough Sea. It was a tribute for those forgotten artists who did the postcards from the sea, it was in a certain way something to do with memory and memorials. It cerates a sense of familiarity and impersonality because it is at the same time so simple and so "cozy" as a bridge between the artist and his audience.

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Dedicated to the Unknown Artists 1972-6 consists of fourteen panels containing over three hundred original postcards depicting waves crashing onto shores around Britain. A large map annotated with each of the locations featured in the postcards is included in the first panel. The remaining panels have been subjected to what the artist has described as her 'methodical-methodological approach' (quoted in 'Second Sight' 2007, accessed 14 June 2018) and are organised into grids of postcards and tabulated details such as location, caption, legend, in vertical or horizontal format. Accompanying these panels are two additional components: a copy of a postcard-sized artist's book and a dossier with supporting material, in which the artist describes herself as a curator presenting an exhibition of these overlooked cultural artefacts.

In 1977 Hiller discussed the work in the following way:

Dedicated to the Unknown Artists was designed as an exhibition piece with myself in the role of curator, collaborating with/extending the work of the unknown artists who created the Rough Sea 'set' of postcards. The 'coincidental' pairings of alternative descriptive languages - verbal and visual - are sustained as levels of presentation throughout the piece. While the charts may look like models of objectivity and the visual images like expressions of subjective internalizations, they lead to a series of paradoxes involving the unexpressed but intended vs. the expressed but unintended.
(Quoted in Tate Britain 2011, p.76.)

The work illustrates Hiller's interest in the subject of memory and memorials. The title identifies the work as a tribute to the overlooked and forgotten artists who painted, photographed or hand-tinted the numerous seaside images in the postcards she collected. By making such commonplace objects the subject of a dedicated and extensive presentation, Hiller gives new status to the mundane and provides the viewer with a familiar access point from which to engage with the work. Dedicated to the Unknown Artists has also been described as a work about invisibility (see 'Second Sight' 2007, accessed 14 June 2018). The group of postcards only came to exist as a 'set' by the artist's act of collecting them, and the visual correspondences that the collection highlights would have been previously unseen.

Hiller's choice of sublime or picturesque seaside motifs - with their subtext of romantic desire, the soul in turmoil, and a longing for nature - contrasts with a strict conceptual methodology. Coloured images in particular were generally excluded from contemporaneous conceptual artworks, and yet for this work Hiller opted to make the genre of popular colour postcards of the British seaside her prime focus. However, the grid formation, the serial presentation and the typed labelling all recall the language of conceptualism. Writer Brian Dillon has noted: 'That Hiller effected a study of the invisible precisely by exhibiting objects of such ravishing (and also kitsch) visual texture is surely exactly what made the work, at the time, such a scandal for adherents of an austerely linguistic Conceptualism.' (Brian Dillon in Tate Britain 2011, p.52.)

Further reading
Susan Hiller, exhibition catalogue, Tate Liverpool 1996, reproduced pp.12-13.
Susan Hiller, exhibition catalogue, Tate Britain, London 2011, reproduced pp.52-5.
'Second Sight', Frieze, no.109, September 2007, https://frieze.com/article/second-sight-1, accessed 14 June 2018.

Helen Delaney
May 2011
Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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dossiers and exhibition catalogues and 1 painted wooden book stand

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'Dedicated to the Unknown Artists', Susan Hiller, 1972-6 | Tate

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Artwork page for 'Dedicated to the Unknown Artists', Susan Hiller, 1972-6 Dedicated to the Unknown Artists consists of 14 panels, featuring over 300 original postcards depicting waves crashing onto shores around Britain. A large map annotated with each of the locations featured in the postcards is included in the first panel.

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"The Brown sisters have been photographed every year since 1975."
Nicholas Nixon started doing this when he was in his wife's family and he asked her and her other 3 sisters to take a picture of them. A year later when one of them was graduating he suggested to take the picture of the sisters in the same order. It was now the beginning of this project.

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Nicholas Nixon was visiting his wife's family when, "on a whim," he said, he asked her and her three sisters if he could take their picture. It was summer 1975, and a black-and-white photograph of four young women - elbows casually attenuated, in summer shirts and pants, standing pale and luminous against a velvety background of trees and lawn - was the result. A year later, at the graduation of one of the sisters, while readying a shot of them, he suggested they line up in the same order. After he saw the image, he asked them if they might do it every year. "They seemed O.K. with it," he said; thus began a project that has spanned almost his whole career. The series, which has been shown around the world over the past four decades, will be on view at the Museum of Modern Art, coinciding with the museum's publication of the book "The Brown Sisters: Forty Years" in November.

Who are these sisters? We're never told (though we know their names: from left, Heather, Mimi, Bebe and Laurie; Bebe, of the penetrating gaze, is Nixon's wife). The human impulse is to look for clues, but soon we dispense with our anthropological scrutiny - Irish? Yankee, quite likely, with their decidedly glamour-neutral attitudes - and our curiosity becomes piqued instead by their undaunted stares. All four sisters almost always look directly at the camera, as if to make contact, even if their gazes are guarded or restrained.

Whenever a woman is photographed, the issue of her vanity is inevitably raised, but Nixon has finessed this with his choice of natural light, casual manner and unfussy preparation. The sisters never discuss what they are going to wear. Bebe Nixon says simply: "We just wear what we feel like wearing that day."

Throughout this series, we watch these women age, undergoing life's most humbling experience. While many of us can, when pressed, name things we are grateful to Time for bestowing upon us, the lines bracketing our mouths and the loosening of our skin are not among them. So while a part of the spirit sinks at the slow appearance of these women's jowls, another part is lifted: They are not undone by it. We detect more sorrow, perhaps, in the eyes, more weight in the once-fresh brows. But the more we study the images, the more we see that aging does not define these women. Even as the images tell us, in no uncertain terms, that this is what it looks like to grow old, this is the irrefutable truth, we also learn: This is what endurance looks like.

It is the endurance of sisterhood in particular. Nixon, who grew up a single child, says he has always been particularly intrigued by the sisterly unit, and it shows in these images. With each passing year, the sisters seem to present more of a united front. Earlier assertions of their individuality - the arms folded across the chest, the standing apart - give way to a literal leaning on one another, as if independence is no longer such a concern. We see what goes on between the sisters in their bodies, particularly their limbs. A hand clasps a sister's waist, arms embrace arms or are slung in casual solidarity over a shoulder. A palm steadies another's neck, reassuring. The cumulative effect is dizzying and powerful. When 36 prints were exhibited in a gallery in Granada, Spain, viewers openly wept.

The deepening of the sisters' relationships extends to the one with Nixon. Each sister has always had the opportunity to weigh in on the annual selection of which shot would represent that year, but in the past 10 years, the process has become much more collaborative. Once, when the sisters were unanimous in a choice that wasn't the same as Nixon's, he bowed to their wish. "I have to be fair here," he said. When his own shadow first appears, falling across the faces - in '81, '83 and '84 - alongside the square of his 8-by-10 camera, you can feel him angling to join in, to be part of the group himself. But in later years, the collaborative bond between him and his subjects shows. The women's eyes now seem to regard the photographer with a glow of trust and sisterly affection. "We've gotten close," Nixon acknowledges.

As we come to the last pictures, we feel the final inevitability that, as Nixon says, "Everyone won't be here forever." The implication hovers in the darkening of the palette and in the figures drawing together, huddling as if to stay afloat. To watch a person change over time can trick us into thinking we share an intimacy, and yet somehow we don't believe that these poses and expressions are the final reflection of the Brown sisters. The sisters allow us to observe them, but we are not allowed in. The reluctance shows particularly in the early pictures: the wary lowered brow, the pressed line of a mouth. Sometimes a body's stance or the angle of the jaw is downright grudging. These subjects are not after attention, a rare quality in this age when everyone is not only a photographer but often his own favorite subject. In this, Nixon has pulled off a paradox: The creation of photographs in which privacy is also the subject. The sisters' privacy has remained of utmost concern to the artist, and it shows in the work. Year after year, up to the last stunning shot with its triumphant shadowy mood, their faces and stances say, Yes, we will give you our image, but nothing else.

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Nicholas Nixon was visiting his wife's family when, "on a whim," he said, he asked her and her three sisters if he could take their picture. It was summer 1975, and a black-and-white photograph of four young women - elbows casually attenuated, in summer shirts and pants, standing pale and luminous against a velvety background of trees and lawn - was the result.

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We have this project called paper outfit. I really like fashion, but I have never thought about making one outfit. In our class about paper folding, we had Jun Nakao as a reference, when I saw his work I was impressed, how could a person do this things with paper? So I started to search more about him. He is not only a fashion designer but also an art director and designer. He is from brazil and has already made innumerable works.  In 2004 at the fashion week here in São Paulo he made a parade of paper clothing, he used only vegetable paper in different weights, at the end of the show, the models ripped the papers symbolizing the ephemerality of fashion.

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When we had the framing classes I thought a lot about Wes Anderson and his symmetry. Lauren showed us this video that I have already seen. It is realy cool how he centralizes the frames, besides the colour palette that I love.

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“I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting. That's just sort of my way.” – Wes Anderson

Music: The New Lobby Boy by Alexandre Desplat

http://kogonada.com

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This is a 12 volume book, each volume a photographic shor story of the everyday life nowadays. They vary in length from just a single photograph to 60 pages of images made at one street intersection. The most intersting thing about this book is the design he uses for the images, I can't even explain how he does that and luckly I found a video in youtube showing the whole book. He varys the size and the postion of images in the pages and all of this makes sense, he forces us to imagine the scene through this.
This is also one of the books of the IMS collection.

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One of the artists I really liked in our lecture about the protest project was Cildo Meireles. He is a brazilian artist that makes objects and installations questioning the brazilian military dictatorship and the economic dependence in global economy. The project that caught my attention the most was the coca cola project that consisted in altering reusable Coca-Cola bottles by adding questions, slogans or illustrations in a white font that imitaded the bottle’s brand inscriptions. At that time, since the bottles were made of glass, it was necessary to change them to obtain a refill so the idea was to make the bottles circulate, which made them an invitation for everyone to discuss these messages.

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They are feminist activist artists that wears gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. They believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders and have made over 100 street projects, stickers and posters all over the world. They are a symbol of the feminism art and what I like the most is the use of a a subtle and effective humor combined with a modern and casual design.

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Guerrilla Girls featured on Art21 episode Bodies of Knowledge CHECK IT OUT >

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He was a graphic artist and poster desginer who created optical illusions. As a young post-war designer, he was intrigued by the minimalist Swiss school of design. While at the Tokyo National University of Fine Arts in the mid-50s he developed a minimalist and simple style that became part of his defining look. Also he was known for being environmentalist and anti-war and made several posters criticizing different subjects.

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This is a website that offers different inspirations of different types of art, such as illustration, animation, photography, graphic design and things like that. While I took a look around the site I noticed my strong interest in illustration, I spent a great time looking at the different artists that the site offers. The cool thing is that they are mostly new artists with contemporary ideas. It is a huge help to take a look at it when you are looking for inspiration when you get stuck without ideas during some work.

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Advertising • Animation • Film • Graphic Design • Illustration • Photography •

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I am astonished with this artist. His work is incredibly simple featuring flat colours, minimal detail and negative space to create images that often carry double meanings that are not immediately apparent. He avoids unnecessary detail or decoration that might detract from an image's message. This is the kind of work I like the most, it is simple and genius, I can stay looking for his artworks for hours and still get impressed when looking at it again the next time. I guess I saved almost all of his artworks in my cellphone. From now on I will have this amazing artist as a huge inspiration.

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His style is silk-screen poster art, the use of bold, geometric design creates images that in a way represents what the clients want him to "say". His early work used a lot of found imagery or combined multiple pieces of abstract imagery to create something new. Munn rarely use abstract imagery now, but he does work with a lot of common objects, changing them in some way to get a different meaning from the objects. His work usually consist of the same objects: records, cameo-style profiles/heads, nature images, television, telephones. Munn uses these same objects to create continuity in his artwork.

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He is a graphic artist and illustrator. His practice ranges from illustration to photography, video, costume, installations, books, posters and clothing to create a coherent yet eclectic body of work. One of his famous works was in the wake of the November 2015 terrorist attacks in Paris Jullien created a variation of a classic peace symbol invoking the Eiffel Tower. The image swiftly went viral through social media and news coverage of worldwide sympathies and affirmations of solidarity against terrorism. Jean and his brother Nico founded Jullien Brothers, a duo specialized in moving image, they create simple but touching animations, it is avaiable in the website jullienbrothers.com.

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They are not as common as handmade placards, but they exist. Here is a good example of both of them. Handmade you can see everywhere because of its practicality - you are in the middle of the protest and you need a shocking placard, it is easier to make them then thinking about it before.

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One inspiration for the cover of my zine was this design for the planets of Star Wars. I was looking for inspiration on Pinterest and then I found this and it really called my attention.

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I found this picture on the internet (don't remember the website) and I really liked, but I couldn't do anything like it cause it has nothing to do with my zine, so I got the little spaceship as another inspiration for my cover, I can complement my design with it.

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This animation created by Alan Becker is simple and funny, you don't have to think too much to understand it but at the same time it is really smart. I did search other videos made by him on youtube and I found out that he created a serie and there is also "Animator vs youtube" and "Animator vs minecraft".

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It is a serie of short animations on youtube, I like how simple and fast they are, it is something you can watch for hours when you are stressed and get some laughs. Here you can see the characters are more worked and that there is a planning of the environment they are, you can see more techniques than in Animator vs Animator, but I like them both, but in different ways. By the way, this was one of the shorts I liked the most.

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I didn't really liked this animation, but I didn't hated it either. I think this would stand just between the Animator vs Animation ans the Cyanide and Hapiness because that isn't a lot of work, but he did is concerned about technical issues, I guess not as much as Cyanide, because there is this thing about the unfinished drawings aspect and the supporting characters don't move while one speak, of course I understand that it is due to the practicality, but that bothers me a lot, just don't put a lot of people, make it seem like they are there, something like that.

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This one is the one. I loved the simplicity of the drawings, but you can see the animator worked really well in the details and in the motion of the characters. I'm really into black and white drawings using just lines, without shadows and things like that. Besides that, the storys are really cute and the sound design is very pleasurablem, the sound of the tiny paws touching the floor and the cat licking is really convincing.

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'A fussy cat takes on a bit of spring cleaning!' WHAT'S COMING UP? Look out for our new Simon's Cat Logic episode - Sleeping Places, coming soon! WHAT HAPPENED TO 'OFF TO THE VET' COLOUR FILM? 'Off to the Vet' was completed in 2015.

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This is a video clip of one of my favorite musics, it was directed by a Canadian artist called Chloe Poirier Sauvé, she uses sand on a light table to draw and she edited the process of the drawings and the drawings itself to create an animation for this video clip. I want to try that sometime, I think it is a very relaxing process and every time I see this video I discover something new (the music contributes to the vibe of the video).
http://chloepoiriersauve.com/

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Patrick Watson - Blackwind (Official Video)

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"People I've never met and conversations I've never had" I like the big title and how he combines a lot of different styles in one single zine, he mixes collage with drawings and hand writings, it is a chaos, but a nice one. I really like that, it proves that even when you have a lot of different ideas, if they speak to each other and if you know the propertys and how to use them, you can have really nice outcomes.

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Unsurprisingly the book features a series of portraits of people I have never met and transcriptions of conversations I have never had. Although the one conversation about being invisible on the bus is inspired by a real life event involving my brother as a child thinking his legs were invisible due to him wearing camouflage trousers.

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This guy is fucking amazing. I love how he does his work with humor and how he represents himself in the things he does. If you read his biography and give a look at his works you will understand. I could put a bunch of works of him here I liked, but the project I am going to link here is my favorite. It is called hate mail and I think that it is absolutely brilliant.

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Mr Bingo likes drawing things and rapping and this is a website of some stuff that he's done.

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For the people who, like me, don't like to draw, Holy St Clair is quite an inspiration. Her childish drawings and simplicity on what she want to show makes everything really funny. She is really objective and she show us that you don't actually need to draw perfectly well to do something cool (perhaps she do draw very well but she don't want to pass that message, who knows)

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Holly St Clair is a London based illustrator and artist.

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Let's begin with the name, it is incredible, it has humor and at the same time it is really smart. It consists of a plataform where you can send your zine and he sells it for you. What I liked about the zines is how they mix computer and handmade projects in the same zine (most of them). You can say it is really homemade, but well thought.

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zine distro punk theory zines dead trees and dye

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It is a column highlighting zines and small press publications. They made it thinking about biographical zines trying to show people how many marginalized figures are overlooked textbooks. Coming from indepdendent producers, these biographies celebrate both unknown historical figures and the spirit of independent publishing.What I like the most is that besides telling a story, the zines look for aesthetics too. They worry about the two most important things.

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History shouldn't be treated as static information-biographical zines offer a way to tell stories of the many marginalized figures who are overlooked textbooks. As a genre, biographical zines may not be as well known, but they're definitely worth digging up. Coming from indepdendent producers, these biographies celebrate both unknown historical figures and the spirit of independent publishing. From pilot Bessie Coleman to a Japanese anarchist, here are some of my favorite biographical zines.
The Life and Times of Butch Dykes
Eloisa Aquino's series about women and gender nonconforming LGBTQ folks in The Life and Times of Butch Dykes is one of the most well-known biographical zine series. Aquino, who has a background in journalism, crafted well-researched and complex stories of overlooked queer women from history. In 2009, the series began with Chavela Vargas, who was, as Aquino wrote, "the first public woman in Mexico to wear pants. First to declare not to like men." Each issue features hand-written prose accompanied by high-contrast, two-tone illustrations of key moments in the subjects' lives.

Aquino's artistic biographies are basically fanzines celebrating amazing women, including singer and performer Gladys Bentley, photographer and activist Claude Cahun, supermodel Jenny Shimizu, and poet Audre Lorde. One thing all of the subjects have in common is they are pioneers, either redefining the role of women in their professions, breaking through gender and sexual restrictions in their countries or cultures, or working to pave the way for people who were not accepted by the mainstream.

The Life and Times of Butch Dykesis available at banddpress.etsy.com

Siue Moffat's Fascinating Folks (which she created with an anonymous artist) is an in-depth collection of biographies of women and people of color. At 53 pages, the thick single-issue zine tells the stories of a Japanese female anarchist who fought for Korean independence in the early 1900s, a mysterious woman who is either French royalty switched at birth or a complete hoax, an African-American comic artist who created a Black superhero and erotic lesbian and gay comics in the 1950s, a Brazilian man who escaped slavery to become a martial artist and drag performer, and a reporter who was the only female soldier to serve in WWI.

Moffat and her co-creator began researching these folks out of sheer curiosity and realized that they should put their research into a zine. "We wanted people to know about these obscure people and a zine with text and illustrations was the perfect format," says Moffat.

More information about Fascinating Folks is available by emailing pumpkinpiepress@yahoo.com.

In the first issue of her zine, Mocha Chocolata Momma, Marya Errin Jones writes that she is tired of the "crappy depictions of Black women in most forms of popular culture." She decided to create this series to highlight the stories of Black women that inspire her. The title Mocha Chocolata Momma comes from a cheeky awareness of the absurdity (and aggravation) of Black women so often being described in terms of food items. The first issue profiles Bessie Coleman, the first African American woman to get an international pilot's license. Jones highlights not only the achievements of her subjects, but also their significance to culture and to her own life. Overlapping text on top of line drawings and photographs of Bessie Coleman, the zine jumps around in time to tell the full story of its subject, which is equal parts Coleman and Jones.

Jones says that while working on the first zine in her series she found that historical events are not clearly linear. "As Doctor Who describes time, it's more like a big ball of 'wibbly wobbly timey wimey ... stuff.' To get a more complete picture, it's important to consider the cul de sacs and dead ends that also make up a life, and the historical records of our lives."

Other figures in the series include Zoe Washburne, a fictional character created by Joss Whedon for the TV series Firefly, and Salaria Kea, the only American Black woman to serve during the Spanish Civil War.

Mocha Chocolata Momma is available at mochamixzines.etsy.com
Bad Girls Throughout History
Like the zine writers above, Ann Shen created Bad Girls Throughout History because she wanted to shed light on women who inspired her, but who few people knew about. In art school, Shen was given an assignment to make something that could be reproduced in multiples and she decided to make a zine about badass women. Each page features a colorful brush painting of the women who are highlighted, from mathematician Ada Lovelace in a flowing green dress to a closeup of Carmen Miranda's iconic Brazilian headdress.

"In art school, and in life, you're constantly challenged to be something that might be someone else's idea of what's right and good," says Shen, reflecting on the creation of her zine. "I started to realize that the truly remarkable people in life often stepped outside the bounds of what was expected of them-and I wanted to celebrate that with this zine."

The deluxe issue of her zine is a series of illustrations of 37 women. Subjects include a combination of lesser-known figures and famous women such as Empress Wu Zetian, Nellie Bly, Tallulah Bankhead, Anna May Wong, and Dolly Parton. Her zine is so popular that in fall 2016, Chronicle Books will publish a book-length version that will include paintings of 100 women and write-ups about each.

Bad Girls Throughout History is available at shopannshen.etsy.com
Want more zines? Check out other Cut & Paste columns.

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History shouldn't be treated as static information-biographical zines offer a way to tell stories of the many marginalized figures who are overlooked textbooks. As a genre, biographical zines may not be as well known, but they're definitely worth digging up. Coming from indepdendent producers, these biographies celebrate both unknown historical figures and the spirit of independent publishing.

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The grandmaster of origami. He is credited with raising origami from a craft to a living art. He created a lot of different techniques as the wet-folding that allows the paper to be manipulated more easily, resulting in finished origami models that have a rounder and more sculpted look. He also created signs so that origami could be passe by readings too, it is because of him that you can learn this technique by books.
https://www.thesprucecrafts.com/origami-artist-akira-yoshizawa-biography-2540655

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She is a japanese photographer who likes to represent how time records itself into things and people. What I like about her photographs is how she can be dramatic and use photography to pass something to people. The black and white pictures are the best in my point of view.

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Ishiuchi Miyako - 42 Artworks, Bio & Shows on Artsy

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Find the latest shows, biography, and artworks for sale by Ishiuchi Miyako

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She creates the visual elements by combining typography and illustration made with paper strips, which she then attaches onto a base. It is incredible how delicate her work is, you need a lot of patience to do that since the papers are really thin. I could never do a work like that, I would get stressed and gave up in the first hour.

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Sabeena Karnik is a graphic designer and illustrator from Mumbai, who specializes mainly in paper typography. That is to say, she creates type and letters by hand using only paper, which is the primary thing that sets her work apart from other typographers. She says that this "evokes many reactions from the viewer, especially because it is all handcrafted by me and nothing is done digitally".

Basically Sabeena creates the visual elements by combining typography and illustration made with paper strips, which she then attaches onto a base. She uses the paper to produce different types of effects with lighting and shadows. It is quite a long process which first starts with a sketch and many days of careful work manipulating the paper by hand. The drawing serves as a guideline for sticking on 5mm or 10mm wide strips of paper. She explains, "The strips are curled, curved, folded, rounded, beautified and then glued on the edges for pasting on the base."

One illustration can take around 7-10 days to finish, with each day generally lasting 12 hours. The process requires a lot of patience, precision and careful handling of the paper, since it is very delicate and easy to crush. Once the art is ready, Sabeena then takes it to the studio to be photographed. She says, "The effect light produces when it falls on the paper art is quite magical and makes the art complete." Finally in the end, it materializes as a three-dimensional piece of art.

Her interest in paper typography started three years ago when she started doing an entire series on the alphabet one afternoon. Initially there was no intention to make it a career. While in university, Sabeena studied graphic design with a special focus on typography. During this time, working with paper and hand lettering was always something that she was passionate about. A simple experiment one day led to her attempt to make the entire alphabet. According to her, this whole process gave her immense joy and the outcome was overwhelming. Soon after this, Sabeena started getting assignments and jobs from overseas which all involved paper typography.

She says that her creative inspiration comes from everywhere: "A lot of it is from nature, handicrafts, and impressionist paintings when it comes to usage of colours, architecture, people." It's very hard for her to pick a favorite piece of work that she's made, but one project that has given her immense pride and a great sense of fulfillment was a promotional campaign she did for the Mysore Palace in India for Karnataka tourism. "For that, I had to create a miniature version of the palace with a lot of detailing in my own way using paper," she says, "It had some typography but the focus was on the illustration. The advertisement was published across billboards and magazines in India and overseas. It still makes me emotional when I reminisce about it."

Sabeena admits that, to a large extent, her work really reflects who she is as a person. She likes things to be precise and neat when it comes to what she creates, and this applies to her life as well. "Experimentation and taking risks is essential in work and in life," she says, "There shouldn't be any restrictions. There are days when I consider myself to be as delicate and fragile as the papers I work with." After her paper creations are photographed, they are kept, cared for like babies, and stored away in boxes that she also makes herself. Sabeena says, "Someday I hope to exhibit them all under one venue."

Facebook: ~/SabeenaKarnik
Instagram: @sabeenu
Behance: ~/sabeenu

Contributor: Banny Wang

design designer handmade india indian Karnik letter mumbai paper paper craft Sabeena Sabeena Karnik typography印度字体设计孟买手工纸字体设计设计师

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The Typography of Sabeena KarnikNeocha - Culture & Creativity in Asia

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Sabeena Karnik is a graphic designer and illustrator from Mumbai, who specializes mainly in paper typography. That is to say, she creates type and letters by hand using only paper, which is the primary thing that sets her work apart from other typographers.

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Just like Sabeena Karnik, this guy takes a lot of time to do his works. The drawings seems to be 3D made in computer, but he does it all by hand. Quite an inspiration if I liked to draw.

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Now known as WorkGroup, did a project with a lot of balloons filled with helium gas to write a 3D letter in a room. I loved the idea and wanted to use to make my 3D letter, but it would cost me a lot of money and time and I don't know if I could actually do it in a week. So I will just take it as an inspiration and perhaps do it when I feel like.
http://workgroup.studio/

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He worked as the Minister of Culture in the Black Panther Party. His graphic art became icons representing black American struggles during the 1960s and 1970s.

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A master of historical styles and movements, graphic designer Seymour Chwast is known for his diverse body of work, and lasting influence on American visual culture. Personal, urgent, and obsessive he revolutionized the field of graphic design.

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A master of historical styles and movements, graphic designer Seymour Chwast is known for his diverse body of work, and lasting influence on American visual culture.

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I guess the propose of this book is better than the pictures, but my opinion. She wants to show people the contemporary space of the airports. The work is made up from images that shows us the "normal" perception of the airports like the planes, flight attendants, chairs with people waiting, but it also shows some abstract pictures with bright colors and shapes that portrays the passage of time and the movements.
The thing that got my attention is how she disposes the similar photographs, sometimes she uses only one page and put the images side by side and sometimes she uses two pages e put the images one in each page (I'm going to upload a picture of an example of a page like this here). I guess she thinks a lot about the impact of the images, some more delicate and simple in some way she puts them all together and with strong bright photos she places them alone.

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He is a Brazilian painter, designer and illustrator. He graduated in Architecture at FAU-USP and before that in Arts at FAAP. He started his work life doing illustration for books, magazines and journals, later he begins to enter with several works at Bienal's all over the world where he gain his fame, specially with his work Cipis Transworld for Bienal here in São Paulo - in this work he creates an advertising campaign using his name as a brand and mocking the advertising images and the commercialization of art. Also one work that got my attention was the three screens of the series Black, Brown and Beige, of more contained colors, it pays homage to Duke Ellington, American jazzman, using the rhythm as a form of plastic creation. With this work he connects the two things I like the most: art and jazz.

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Marcelo Cipis | Enciclopédia Itaú Cultural

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Saiba tudo sobre Marcelo Cipis na maior enciclopédia online sobre arte e cultura brasileiras

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An artist and photographer living and working in New York, after doing a lot of exhibitions all over the world, now he works combining his mark that is the street-photography with his developing interest in how technological forces are shaping new understandings of collective experience and social control.

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Fernando Villela is a street photographer and artist from São Paulo, based in New York. People, places, architecture, and details of daily life can be found in his ongoing explorations of the urban existence.

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A graphic artist that dedicated his work life for books, magazines and newspaper, his drawings have been published by Companhia das Letras, Cosac Naify, Planeta Tangerina and The New Yorker magazine, among others. He also creates drawings and patterns for brands such as L'Occitane and Coca-Cola.
From the artists I researched until now, this is absolutely my favorite. The patterns he creates are equally funny in a way and beautiful.

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Andrés Sandoval é artista gráfico e mora em São Paulo. Formado em arquitetura pela Universidade de São Paulo, desenvolve muitos trabalhos com livros. Desde 2006, ilustra a seção Esquina da revista Piauí. Também cria estampas para marcas como L'Occitane, Coca-Cola, Melissa e Neon.

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A Brazilian illustrator and writer, he has illustrated over 100 titles – 22 of which he also wrote. His main highlight is with children's books. The use of strong and warm colors fill traits loaded with drama and gives to the foreign works a happy Brazilian style. He has won numerous awards around the world.

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Roger Mello

Roger Mello has illustrated over 100 titles - 22 of which he also wrote - and his unique style and adroit sense of color continues to push the boundaries of children's book illustration. Rather than relying on written narrative to tell the story, Mello invites his young readers to fill the gaps with imagination. Mello has won numerous awards for writing and illustrating, including three of IBBY's Luis Jardim Awards, the Best Children's Book 2002 International Award, and the 2014 Hans Christian Andersen Award. In 2018, You Can't Be Too Careful! was named a Batchelder Honor Book by the American Library Association.

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Roger Mello, Brazilian writer and illustrator - Elsewhere Editions

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Roger Mello's unique style and adroit sense of color pushes the boundaries of children's illustration. Winner of the 2014 Hans Christian Andersen award.

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Through the use of different materials, she chooses the graphic language that she finds most appropriate for each work. She uses different shapes, types and roles that are important for the art construction to complement the illustrations and graphic design.
From all of her works the one I liked the most are definitely the book designs. The one called "Falésia" got my eye, it is delicate and simple and has a unique beauty, there is also one called "Foz" that she works with the same style that is also pretty. Another thing about her that I think it is important to mention is how she uses different techniques with property and elegance

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Since I don't really like to draw and almost all of my drawings and works I do it in the computer, I think my pathway is Graphic Design. In my assessment, my tutor and I came up with observations that indicated my affinity, for example, my sketchbook, Monique asked why my sketchbook was so organized, she asked me if I wrote the things in a separate sheet and than wrote it in my official sketchbook, but no, I just create the design I want in my head and do it, I can't be the person who use the sketchbook for sketches. At the same time I know I have to practice that, I can't, it makes me wanna do it again and again until I get the result I want. Also I am not interested in any other BA, for illustration we have to draw a lot and I don't think I will ever want to design apps or games, but as everything in life, my opinion and tastes can change.

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One day I was in my way to EBAC and I passed thru a really nice working space that I didn't really know what was it, but it got my attention (I could only see the name written in huge letters at the front Ampfy so I searched on google).
Turn out it was this really cool digital communication agency with big clients. I guess if I had to work in some company right now I would definitely apply for this one.

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Nascida em uma época em que os meios digitais transformaram a interação com consumidores, a ampfy trabalha na construção de marcas compartilháveis.

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If I could choose somewhere I would be studying right now it was going to be this place. I don't know exactly which courser, probably design or film making. But definitely this university, I think its proposes and opportunities they gave are amazing, besides that it is a really cool city and it has a lot to offer for young students

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Welcome to Leeds Arts University, the only specialist arts university in the North of England

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As almost all the other artists I've researched for this project, she is an illustrator that works with magazines, books and newspaper. What I like the most about her works is the drawing style that she uses and how she complements them with a personal style. There was one of her works that I loved, it is so sweet and the drawings are so cool, I am going to post here the site with all drawings of the work and a picture of one of them.
http://donamargot.blogspot.com/2014/01/gangue-do-pulover-dezembro-de-2013.html

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Drawing reference. He is also an illustrator for books, magazines and newspaper. I like the way he paints and the caricature style of his drawings.

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I will need to use this to finish my book. It is a book binding technique that can be really useful for self-publish works.

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A complete set of Pantone marker pens standing on their base with their nibs facing upright. Single sheets of A1 paper carefully placed to rest on the bed of pen nibs. Each left for twice the duration of the previous print, giving the gradually drying pens more time to mark the paper. For each print the pens where rearranged in a random composition. What I liked the most about this project is how the game can be really interesting and make art all at the same time.

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One complete set of Letraset TRIA Pantone markers - arranged in the colour spectrum - left for one month - resting on their nibs - on a stack of 500 SRA1 sheets - 70gsm uncoated white paper

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This is one reallly simple but effective and interative game. He creates art through the words and at the ends you actually end up with a piece of art in your hands. It is really simple and different and you can end up with a really cool outcome and a text that can actually represent yourself. Rules are made to be broken, art isn't about to be perfect.

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He creates different textures and cut them in different pieces so you can complete them by yourself. You need to keep turning the pieces until you can reach a complete texture.

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What I thing it could be a huge reference in his work is that he makes a game with drawings. He created a rule where he could only draw in public spaces and certain kinds of things. He uses the environment to create new things. If you have an idea and you create a rule out of this idea it can become a game.

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Wind is a typeface created by the graphic designer Hanje van Halem. Its various layers can be combined and overlaid to create vibrant, hypnotic patterns.

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Typotheque: Wind, a Layered Typeface for Optical Illusions

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A capital-only display typeface by Hansje van Halem for intricate headlines, and optical effects.

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This is one interactive intalation that happened at tate modern. There were swings that only worked with three people and it made the big silver ball move. So you had to interact with someone to make this instalation work.

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Superflex: One Two Three Swing! Tate Modern, London

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Also called Morris dance is a English folk dance based on rhythmic stepping and the execution of choreographed figures by a group of dancers, usually wearing bell pads on their shins. They also hold towels in their hands and dance normally in groups but each one in their own space.

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Is a musical rhythm and Brazilian dance originating in the state of Pernambuco.It was common conflicts between blocks of frevo, in which capoeiristas went ahead of its blocks to intimidate rival blocks and to protect its group. People dance frevo usually in groups, but without interaction with anyone. The normaly hold a little umbrella (they say it has something to do with balance since they jump a lot in the dance steps) the outfits and accesories are normaly made with very bright colors and the ladies wear a big tulle skirt.

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The dance is a mix of the Russian tap dance with many twists and turns. Groups of dancers can be formed by couples or only by women holding a small handkerchief in their hands.

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Kalinha (Russian Folk) - Jeanine and Phillip

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This exhibition presented a selection of works from different artists that had as a base the importance and history of the books. They were inspired by their thoughts and feelings and showed that you don't need words to tell a story and books don't have to be made in the standard format to send us messages. The deconstruction of books can release feelings and instill thoughts in people. That is basically the whole idea of this project.

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Blood on Paper: The Art of the Book at the Victoria & Albert Museum. 15 April - 29 June 2008

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The Perpetual Flip Books - Juan Fontanive

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The Perpetual Flip Books - Juan Fontanive

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He created self-flipping flip books of butterflies and hummingbirds. It is an impressive work, so delicate and the movements are easily made by the flip of the paper.

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The Perpetual Flip Books of Juan Fontanive - Design Milk

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Brooklyn artist Juan Fontanive creates self-flipping flip books of butterflies and hummingbirds... and it's even more amazing than you think.

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The artist wanted to make a book that wasn't just a reading material, it has multiple functions. "A cheese plate, beer coaster, even an eye mask to block out the light. Whether you start reading from the back or use a page as some kindling to start a fire, there’s no right or wrong way to read THE BOOK." It is at the same time fun and intelligent.

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Writers aren't the only ones who turn to paper pages as a creative canvas-George Maciunas' Fluxus Editions, Tom Phillip's Humument's "A Humument," and Tauba Auerbach's "RGB Colorspace Atlas" are all examples of artists who have explored the infinite potential of the book form. The Thing Quarterly's interpretation of an "art book" or even "book as object" is unlike anything you've ever let collect dust on your coffee table-and has a good dose of saucy humor, too. The object-based periodical's founders Jonn Herschend and Will Rogan convinced some major names in the contemporary art and design worlds to each contribute a little something, resulting in a part-anthology and part-found-object called " The Thing The Book "-literally leaving no part of the book untouched, from the endpapers to the ribbon bookmarks to the index.

Parts of bookmaking that have become forgotten-an epigraph by conceptual artist John Baldessari, a bookplate from the aforementioned Ed Ruscha himself, a colophon by Guinness World Records-obsessed documentary filmmaker Sam Green-are supported by essays, photographs, drawings and even a flip-book and reading guide. It's as if Herschend and Rogan have invited a diverse group of more than 30 people over for a potluck dinner, at which guests-inspired by one another-entertain and inform for a memorable night. In her essay "The Artist as Bookmaker," professor of art history Gwen Allen sums up the The Thing's endeavor well: "...we can't be satisfied with fetishizing books as collectors' items or antiquated curios; we need to think about how the activities of editors, designers, artists, writers, and-not least-readers create meaningful and worthwhile experiences, whether on or off the page or screen."

"We think of The Thing as a publication. We publish objects and the book is an object, so it just seemed like a natural progression," co-founder Herschend tells CH. (The Thing Quarterly isn't taking even a short break from its conceptual subscription service; the super top secret Issue 24, created by fashion designer duo Rodarte with some help from Todd Cole and No Age, will be released this Thursday). "It's also important to note that both Will and I come from a background where books played an essential role. He was a librarian at SFAI for five years, and I taught high school English Lit in SF for five years. We see The Thing as a physical conversation with literature and art, and the book for us is the ultimate delivery vehicle for both. We also like the fact that the physical book carries history with it. I have a bookshelf at home that sometimes feels like the way a tree is supposed to work when you count its rings. It's a physical history of my life in books."

This book is very conscious of the fact that it's more than just reading material, and takes up physical space in the real world. A humorous video highlights its multiple different functions: cheese plate, beer coaster, even an eye mask to block out the light. Whether you start reading from the back or use a page as some kindling to start a fire, there's no right or wrong way to read THE BOOK.

I don't know how the author of the original text feels about the "swelling clit" stuffed between pages 44 and 45, I'm sure I'll meet him at some point and we'll discuss it.

Two recognizable contributors are Miranda July and writer Jonathan Lethem, who embraced their specific assignments and took advantage of their physical (and theoretical) limitations. "I had a kind of deferred, but embarrassed excitement about footnotes. I'd always wanted to do something with them, but they just belonged too completely to Baker and Wallace. So I needed an assignment to free me," Lethem tells us. "I just liked the idea of an erratum-meant to correct a mistake-that was itself a mistake," July says. "And then it was fun to think of what the most egregious correction might be-perhaps an erratum that insisted that perfectly tame text was meant to be pornographic. I don't know how the author of the original text feels about the 'swelling clit' stuffed between pages 44 and 45, I'm sure I'll meet him at some point and we'll discuss it."

I've always responded to books as prosthetic extensions of my body, and my sense of wanting to spend so much time around them-and to create them-is intensely physical.

We spoke further with Lethem as he was in the midst of unpacking his office after nine months of sabbatical and travel-trying to fit his newly acquired books onto his already-bursting shelves and deciding which others to rearrange or purge. "I've always responded to books as prosthetic extensions of my body, and my sense of wanting to spend so much time around them-and to create them-is intensely physical," he muses to CH. "This might be rooted in my life as a painter's son and as an art student, before I began writing: culture as object-oriented. Thinking about a book I want to write often has a lot to do with an intuition about proportion: how much do I want it to weigh? Should it be a short- or a tall-trim volume? The short disquisitions on 'Fear of Music' and 'They Live' were also absolutely grounded in their tiny proportion and their fate as paperback originals. Back-pocket objects."

"My unpacking work today also reminds me that I think the overlooked conversation, when people talk about the change in the physical reality of books, is less the paper-and-cloth object versus the reading device than it is the room full of books versus the room that lacks them. At 50, I still feel the weight of my parents' bookshelves looming over me, with their power of mystery and implication. And I've spent my entire life in a charged relationship to these environments-libraries, bookstores, great private collections-and, for me, especially, used bookstores-which seem like collective brains, energizing chambers I compulsively seek out. And then there are the thousands of hours I've spent tending my own accumulations, an activity more like meditation, and masturbation, than it is ever given credit for. Rooms of books are the larger prosthetic, the exoskeleton-the internet of intertext."

"The Thing The Book" is available today, 23 September 2014, for $40 from the website as well as Amazon. Cool Hunting is happy to invite readers to the book's official NYC launch party (we're a proud co-sponsor) on 26 September 2014 at Story, 144 10th Ave New York, NY. The Thing will also have a booth (F03) at the NY Art Book Fair at MoMA PS1 that weekend; a massive signing party will take place at 1:00 PM on 27 September, featuring Starlee Kine, Rick Moody, Laurel Nakadate, Matthew Higgs, Andrew Hultkrans, Gwen Allen and more.
First two and last images courtesy of The Thing, all others by Cool Hunting

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The Thing The Book: A Monument to the Book as Object - COOL HUNTING

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Writers aren't the only ones who turn to paper pages as a creative canvas-George Maciunas' Fluxus Editions, Tom Phillip's Humument's "A Humument," and Tauba Auerbach's "RGB Colorspace Atlas" are all examples of artists who have explored the infinite potential of the book form. The Thing Quarterly's interpretation of an "art book" or even "book as...

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He makes intalations and artworks using books. It's simplicity is what fascinates me the most. The works that got my attention were the ones that he used powdered cement and aerated concrete on the top of the books, it felt heavy, you can't ready the book, you can't move him or anything, but you can see it.

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Jonathan Callan is an artist. Born in Manchester, England in 1961. Lives and works in London.

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No words for this guys works. It is so delicate and charming, the way he cuts the books to focus only on the words he wants and the collage that has EVERYTHING with the whole context. It is absolutely stunning. Also the models he made with plaster structures and broke it, incredible. 10/10.

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Five works and the pieces that inspired them. This article shows us a little bit of Parker's work and five other works that were at least partly inspired by other artists. The one I liked the most was The Distance (A Kiss with String Attached), inspired by Auguste Rodin's The Kiss. One phrase I liked when the author was describing the work was "about how the things that bind people together can also suffocate them.", it gives a whole new meaning to an sculpture that was supposed to be delicate and erotic in some way.

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For this interview, I invited her to talk about five works of art representing the breadth of her output that were at least partly inspired by other artists.

Landscape with Gun and Tree (2010)

Inspired by Thomas Gainsborough's 'Mr and Mrs Andrews' (c.1750)

"In 2009, I spent a few weeks at Jupiter Artland, a sculpture park outside Edinburgh owned by my friends Nicky and Robert Wilson. They would go shooting, and somehow, with their land and their dogs, they reminded me of Gainsborough's Mr and Mrs Andrews (c.1750). So when they commissioned me to make something for the park, I found myself thinking of Gainsborough, and created a 9m-tall shotgun leaning against a tree. I wanted the gun to hang out of a tree, just as the gun is draped over the arm of Mr Andrews in Gainsborough's painting, but it looked clunky. So instead, the gun barely touches the tree - it kisses it, and lies between this cleft in the branches, this phallic object with a beautiful tree. I said to Nicky, I don't think I can call this 'Mr and Mrs Wilson', because it's too naughty."

Breath of a Librarian (1998)

Inspired by Piero Manzoni's 'Artist's Breath' (1960)

"This work was a bit of a joke. The Italian artist Piero Manzoni made a series known as Artist's Breath, in which he inflated balloons and put them on plinths. They're all deflated now, but every time I see one, it really does something for me - perhaps it's the distressed nature of the perished rubber, which isn't easy to conserve. I thought of Manzoni when I found a burst balloon in the Reading Room at the British Museum shortly before the British Library moved out - I guess it must have been from the final party. I decided to memorialise the breath of a librarian, because librarians are unsung: we all want the breath of an artist, but the poor old librarian never gets a look-in. It's funny, but it's also meant to be tragicomic, like the writing of Samuel Beckett. His work is minimal in movement and structure, but emotionally it is so near the knuckle it's untrue - and yet it's also incredibly funny. More recently I showed a piece called Breath of a Politician featuring a balloon printed with the words "Jeffrey for Mayor" - it was made for Jeffrey Archer when he was going to stand for Mayor of London before he was sent to jail. I thought it was perfect: the balloon hadn't been inflated, whereas Archer's inflated ego had just been popped."

The Distance (A Kiss with String Attached) (2003)

Inspired by Auguste Rodin's 'The Kiss' (1901-04)

"I love Rodin - he's so sensual and erotic. But sometimes I feel he's too lyrical and beautiful. The Kiss, which used to sit in the rotunda of the Tate Gallery is probably the most popular sculpture in Britain. As a romantic idea, though, it feels simplistic: it's about love, but not about the complications of love. So when I was invited to participate in the 2003 Tate Triennial, I decided to wrap it in string, to add some complexity to the sculpture. I was also referring to the artist Marcel Duchamp, who draped a mile of string over a Surrealist exhibition in New York in 1942, as an act of sabotage. The string in my work was a punk gesture - a deliberately provocative act. I started by wrapping it tightly around the heads of Rodin's lovers, so that the kiss itself was obscured. It became a piece about the complexity of relationships - about how the things that bind people together can also suffocate them. When it was shown, someone chopped off the string with a pair of shears. He got arrested and the Tate wanted to prosecute. But the police said it would be hard to prosecute cutting a piece of string. I didn't want it to go to court. It would have been silly, and I hadn't set out to make a frivolous piece."

The Maybe (1995)

Inspired by Henry Wallis's 'Chatterton' (1856)

"The actress Tilda Swinton wanted to do a performance piece called The Maybe in which she appeared as Snow White asleep in a glass coffin. I immediately thought of Wallis's painting, partly because Tilda looks so Pre-Raphaelite. I thought that performing in costume would make it a piece of theatre, not art, so in the end Tilda wore her own clothes and lay there for eight hours a day asleep, or at least seeming to be. Sometimes people would whisper obscenities to her through the glass. It made Tilda feel vulnerable, and by the end she had shingles because of the stress. I felt bad because that wouldn't have happened if she had been in costume. Because she was just being herself, people could project much more onto her. But that was the whole point."

Thirty Pieces of Silver (1988)

Inspired by Richard Long's 'A Line Made by Walking' (1967)

"One day, while thinking about what I could make for my first major one-person show, at the Ikon Gallery in Birmingham, I went to a scrap merchant where I saw a skip full of mangled pewter and silver objects including a whole load of damaged teapots. I thought: that's nice. Here were these flawed objects with pretensions to grandeur, but something horrible had happened to them, so they were brought down to earth. At the same time, I was interested in photographs released by HM Customs and Excise that showed fake Rolex watches being squashed by a steamroller. They reminded me of Tom and Jerry cartoons, when a steamroller would come along and squash something flat. So I decided to hire a steamroller and squash some silver plate. I laid out the silver in a long line as a little nod to Richard Long's A Line Made by Walking, a black-and-white photograph in the Tate of a line he had made by walking across a field full of daisies. I loved the idea that you could make an artwork just by having your feet in some daisies. Since Thirty Pieces of Silver, I have squashed lots of objects, including brass musical instruments. I suppose I must get some perverse pleasure out of seeing things flattened. I like the idea of taking three-dimensional objects and making them two-dimensional, so that they look like cartoons."

Cornelia Parker will appear at the Telegraph Hay Festival at 8.30pm on Saturday, May 25.

'Cornelia Parker' by Iwona Blazwick, with an introduction by Bruce Ferguson, a preface by Yoko Ono, and extensive commentaries by the artist, is published by Thames & Hudson (£35, thamesandhudson.com).

An exhibition of new work by Cornelia Parker is at Frith Street Gallery, London from June 7 - July 27 2013 (frithstreetgallery.com).

A new BBC Four programme on Cornelia Parker will be aired at 8pm on June 4.

You can download a free digital version of The Hayly Telegraph, the daily paper of the Hay Festival, each day of the festival from the iBookstore. Visit iTunes.com/HayFestival or search 'Hayly Telegraph' on the iBookstore.

Keep up to date with the Telegraph's coverage of the Hay Festival 2013

Follow Telegraph Art on Twitter

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Hay 2013: Artist Cornelia Parker on five works and the pieces that inspired them

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For this interview, I invited her to talk about five works of art representing the breadth of her output that were at least partly inspired by other artists. Landscape with Gun and Tree (2010) Inspired by Thomas Gainsborough's 'Mr and Mrs Andrews' (c.1750) "In 2009, I spent a few weeks at Jupiter Artland, a sculpture park outside Edinburgh owned by my friends Nicky and Robert Wilson.

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The idea of the artist in this project was to destroy his works. He did a slide show before that, but not with all of the works. This idea scary me, I would never be able to destroy my projects, even though I don't always like them, I have a certain kind of affection for them all.

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The Gallery of Lost Art is an immersive, online exhibition that tells the fascinating stories of artworks that have disappeared. Each week, a new story of loss is added, and the evidence presented for examination

Cremation Project 1970

This week the Gallery of Lost Art looks at the unusual decision of the America artist John Baldessari to burn much of his early work.

John Baldessari is today known as one of the leading conceptual artists of his generation, using found or appropriated images and exploring the associative power of language. Like many experimental artists Baldessari began his career in the more traditional realm of painting. Rather than merely moving on from these early works, Baldessari decided in 1970 to have them destroyed.

In the summer of 1970 all paintings in the artist's possession dating from the thirteen years 1953-66 were incinerated at a local crematorium. He took the precaution of making slides of most of them but the exact number of works destroyed is unknown.

Baldessari conceived of the destruction of his early works as an artwork in itself called Cremation Project and in a letter to a critic shortly afterwards he wrote, 'I really think it is my best piece to date'.

Find the full story and explore the last traces of many more lost works here

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The Gallery of Lost Art is an immersive, online exhibition that tells the fascinating stories of artworks that have disappeared. Each week, a new story of loss is added, and the evidence presented for examination This week the Gallery of Lost Art looks at the unusual decision of the America artist John Baldessari to burn much of his early work.

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COMO HACER FLORES DE PAPEL ORIGAMI FACILES

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This is one great video made by Tate that gives us something to think about. "Can art change society?", talks about installations, workshops, proposals and every thing related to art and how can they help people in difficult times to get thru what they are going. Art brings us joy and every single thing you do thinking about the next can be a huge difference.
When you make a project dealing with delicate subjects such as immigrants and homeless people etc, it opens people eyes, they start thinking in something that most of them don't take a time to think about. It is intriguing, they stop to look at it because it catches your attention.

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It is all about one huge project of an artist called Poul Gernes, that decorated a whole hospital with bright colours.
The decoration is a really important thing, colours bring feeling to people and it is more comfortable to be in an environment that doesn't look like you are in an actual hospital for example. The colours are always so sad and you keep thinking that you are in a place of treatment.
In one of the patients testimony he says that he likes "that things aren't straight sterile and perfect" and that it has an relaxing effect. You can perfectly see the impact of art in one environment, how it cheers people up, people that usually need this kind of "affection".

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KØS Museum for kunst i det offentlige rum

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This guy is a huge reference for what we are planning to do. We want to mix grafitti with different styles and techniques and he does exactly that. One thing he does is use clasical paintures and make something like a collage to make

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When talking about typography he is a great example of how to use it properly in a large scale. He is one of the bests and it really makes a different when you add words to this kind of work. When you are trying to help someone thru the art you have to communicate something, to pass a message and there is no better way to do that than thru words. Of course we are not thinking about writing a huge text, but just some stimulating words.

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We want to do something mixturing styles and about the city (buildings, maps, etc.). Unfortunately I don't know the name of this artist, I just founf it in the middle of one decor site.

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One more reference mixing styles, another thing we are thinking to do is mixing photos in "lambe-lambe" with a modern style graffiti, some waves and huge drawings, not just "abstract" drawings.

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Playing with maps and words is also very exciting when dealing with this subject. We can pass a message like "you can go anywhere you want to", this idea about the sky is the limit and things like that.

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Pay attention to the colors and the style they paint. They use some kind of collage as well that creates a really different outcome.

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This artist has nothing to do with the style of project we want to do, but I found him in the middle of my researches and I think he is a nice reference for future projects.
He is known for his calligraphic approach to street art. He uses ancient sacred texts and eastern philosophy, which results in geometric patterns found in Muslim art and architecture.

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Cryptik creates from a palette of wonder, where all science, math, and true art spring from equal mystery. His is a clear-eyed art practice of more questions asked than answered. The Southern Californian creative's intricate, almost trance-inducing works-be they on mammoth walls, slap stickers, or h

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This guys are amazing, they use light glow paint to make grafitti different. During the day one drawing appears, while during the night, another drawing shows up to complement the other.
Here there is one video showing how they work:
https://vimeo.com/139149089

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BIG REFERENCE

Interresting use of collage above the photographs, he draws lines and use bright colors in the pictures. It is nice how he interferes in one already made work.

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One of the biggest refereces when dealing with the collage works. See something about Andy Wahol that can communicate with his work.

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Job Post: Project Manager for the Rauschenberg Catalogue Raisonné

In its stewardship of Rauschenberg's artistic legacy, the Robert Rauschenberg Foundation is undertaking the first Catalogue Raisonné dedicated to the sixty-year career of this protean artist. As part of this project we are pleased to announce that we are currently accepting applications for an experienced Project Manager to oversee this multifaceted project.

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Rauschenberg Emergency Grants

The New York Foundation for the Arts (NYFA) has partnered with the Robert Rauschenberg Foundation to administer a new medical emergency grant program called Rauschenberg Emergency Grants.

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Robert Rauschenberg: Night Shades and Phantoms at Galerie Thaddaeus Ropac Paris, October 22-December 5, 2020

"What [Rauschenberg] invented above all was [...] a pictorial surface that let the world in again." -Leo Steinberg, 1972

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In its stewardship of Rauschenberg's artistic legacy, the Robert Rauschenberg Foundation is undertaking the first Catalogue Raisonné dedicated to the sixty-year career of this protean artist. As part of this project we are pleased to announce that we are currently accepting applications for an experienced Project Manager to oversee this multifaceted project.