Archive for September, 2010

September 27, 2010

Theo Jansen

Theo Jansen (born March 14, 1948, in The Hague, Netherlands) is a Dutch artist and kinetic sculptor. He builds large works which resemble skeletons of animals and are able to walk using the wind on the beaches of the Netherlands. His animated works are a fusion of art and engineering; in a car company television commercial Jansen says: “The walls between art and engineering exist only in our minds.”

Since 1990 Theo Jansen has been occupied with the making of a new nature. Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. He makes skeletons which are able to walk on the wind. Eventually he wants to put these animals out in herds on the beaches, so they will live their own lives.

 

September 24, 2010

Akira Yoshizawa


Akira Yoshizawa (吉澤 章 Yoshizawa Akira; 14 March 1911 – 14 March 2005) was considered to be the grandmaster of origami. He is credited with raising origami from a craft to a living art. According to his own estimation made in 1989, he created more than 50,000 models, of which only a few hundred designs were diagrams in his 18 books. Yoshizawa acted as an international cultural ambassador for Japan throughout his career. In 1983, Japanese emperor Hirohito named him to the Order of the Rising Sun, one of highest honors that can be given to a Japanese citizen.

Born on March 14, 1911, in Kaminokawa, Tochigi Prefecture, Japan, to the family of a dairy farmer. When a child, he took pleasure in teaching himself origami. He moved into a factory job in Tokyo when he was 13 years old. His passion for it was rekindled in his early 20’s, when he was promoted from factory worker to technical draftsman. His new job was to teach junior employees geometry. Yoshizawa used the traditional art of origami to understand and communicate geometrical problems.

In 1937 he left factory work to pursue origami full-time. During the next 20 years, he lived in total poverty, earning his living by door-to-door selling of tsukudani (a Japanese preserved condiment that is usually made of seaweed). His origami work was creative enough to be included in the 1944 book Origami Shuko, by Isao Honda (本多 功). However it was his work for a 1951 issue of the magazine Asahi Graph that launched his career (according to another account, his first step on the professional road was a set of 12 zodiac signs commissioned by a magazine in 1954). In 1954 his first published monograph, Atarashi Origami Geijutsu (New Origami Art) was published. In this work he established the Yoshizawa-Randlett system of notation for origami folds which has become the standard for most paperfolders. The publishing of this book helped Yoshizawa out of his poverty. It was followed closely by his founding of the International Origami Centre in Tokyo (1954, when he was 43 years of age).

His first overseas exhibition was organised in 1955 by Felix Tikotin, a Dutch architect and art collector of German Jewish origin, in the Stedelijk Museum. Yoshizawa lent many of his own origami models to other exhibitions around the world. He would never sell his origami figures, but rather gave them away as gifts to people, and let other groups and organizations borrow them for exhibiting. In 1956, he married a woman named Kiyo, who acted as his manager and taught origami alongside him. It was around this time that he became famous worldwide.

Yoshizawa pioneered many techniques, including wet-folding. In this technique the paper is dampened before folding, letting the folder create a much more rounded and sculpted look. This was considered by many to be the paradigm shift of sorts that allowed origami to become an artform, as opposed to a quaint oddity of folklore.

In March 1998, Yoshizawa was invited to exhibit his origami, in what still remains the greatest origami exhibition ever staged, in the Louvre museum. He did it so joyfully, and was not at all opposed to having his photo taken with other competing origami artists, whom he used to detest in his earlier years; many of his patterns were diagrammed by his professional rivals, which angered Yoshizawa when he was younger. However, he found that he was no longer so repulsed by rival origami folders, and that, in fact, he now enjoyed their company.

September 15, 2010

Dan Winters

Dan Winters is an American photographer. He was born in Ventura County, CA on October 21, 1962. He first studied photography and the darkroom process starting in 1971 while a member of his local 4H club. In 1979, while still a high school senior, he began working full time in the motion picture special effects industry in the area of miniature construction and design. He went on to study photography at Moorpark College, in California. After receiving an associates arts degree there, he entered the documentary studies program at Ludwig Maximillian University in Munich, Germany, focusing mainly on narrative photojournalism.

In 1986, he began his career in photography as a photojournalist in his home town in Ventura County, California at the Thousand Oaks News Chronicle. After winning several local awards for his work, he moved to New York City, where magazine assignments came rapidly. In 1991, he moved to Los Angeles and married Kathryn Fouts, who became his photo rep and studio manager. In 1993, his son Dylan was born in Los Angeles, CA. In 2000, while maintaining a home in LA, he moved to Austin, TX. There he set up a studio outside Austin in a historic building built in 1903, that had originally served as a general store, gas station and post office for nearly 100 years before he arrived.

Known for the broad range of subject matter he is able to interpret, he is widely recognized for his iconic celebrity portraiture, his scientific photography and his photojournalistic stories. He has created portraits of luminaries such as Bono, Neil Young, Tupac Shakur, the Dalai Lama, Stephen Hawking, Leo DiCaprio, Helen Mirren, Johnny Depp, Kate Winslet, Angelina Jolie, Sandra Bullock, Brad Pitt, Steven Spielberg, Al Gore and Barack Obama.

September 14, 2010

Andreas Gursky

Andreas Gursky was born in January 1955 in Leipzig, West Germany, and soon after moved to Essen, the industrial heartland of the west. His father Willy Gursky was a commercial photographer, which provided an early education and influence on the young artist. He started his studies at the Kunstakademie in Düsseldorf in 1980 under the tuition of two renowned artists, Bernt and Hilla Becher. Their photographs of industrial post war Germany were rigourous studies of types grouped together into single classifications, which they called ‘typology’. Their goal was one of impersonal objectivity and proved to be inimical to Germany’s post war photographic establishment, but where as the establishment failed to invest their photography with artistic significance, the Becher’s were embraced by the new minimal and conceptual artists, and their work began appearing in their exhibitions during the 70’s. This work had an obvious effect on the young Gursky. The Tate Modern has some of his work in their collection, they are on display in the main concourse areas between exhibition rooms.

Gursky uses a large format camera which produces negatives for enlargement.  From these Gursky can produce images the size of large paintings which can be viewed from a distance and close-up without losing their definition, thus facilitating this new physical dialogue with photography. This creates a relation to painting and invites new precedents despite the difference of medium. Gursky’s work has often been compared to German romantic painting, more specifically Caspar David Friedrich. Within the landscape pieces one is reminded of Friedrich’s almost surreal colours and compositions that convey the infinite in nature, through placing man and woman within its large expansiveness, so that we too may feel the sublime in nature.

September 3, 2010

James Dyson

Sir James Dyson (born 2 May 1947) is an English industrial designer.  He is best known as the inventor of the Dual Cyclone bagless vacuum cleaner, which works on cyclonic separation.

Dyson was born in Cromer, Norfolk, England, one of three children whose father was Alec Dyson. Dyson was educated at Gresham’s School, Holt, Norfolk, from 1956 to 1965, where he excelled in long distance running: “I was quite good at it, not because I was physically good, but because I had more determination. I learned determination from it.” He spent one year (1965–1966) at the Byam Shaw School of Art (now part of Central Saint Martins College of Art and Design), and then studied furniture and interior design at the Royal College of Art (1966–1970) before moving into engineering.

Dyson married Deirdre Hindmarsh in 1968. Her salary as an art teacher partially supported him while he developed his vacuum cleaner. The couple have three children.

Dyson was chair of the board of trustees of the Design Museum, “the first in the world to showcase design of the manufactured object”, until suddenly resigning in September 2004. The museum had “become a style showcase” instead of “upholding its mission to encourage serious design of the manufactured object”, in his words.

In 1997 Dyson was awarded the Prince Phillip Designers Prize. In 2000 he received the Lord Lloyd of Kilgerran Award. In 2005 he was elected as a Fellow at The Royal Academy of Engineering. He was appointed a Knight Bachelor in the New Year’s Honours December 2006.

The Sea Truck, Dyson’s first product, was launched in 1970 while he was at the Royal College of Art. His next product, the Ballbarrow, was a modified version of a wheelbarrow using a ball to replace the wheel. Dyson remained with the idea of a ball which his brother thought of, inventing the Trolleyball, a trolley that launched boats. He then designed the Wheelboat which could travel at speeds of 64 km/h on both land and water.

In the late 1970s Dyson had the idea of using cyclonic separation to create a vacuum cleaner that would not lose suction as it picked up dirt. He became frustrated with his Hoover Junior’s diminishing performance: dust kept clogging the bag and so it lost suction. The idea of the cyclones came from the spray-finishing room’s air filter in his Ballbarrow factory. While partly supported by his art teacher wife’s salary, and after five years and many prototypes, Dyson launched the ‘G-Force’ cleaner in 1983. However, no manufacturer or distributor would launch his product in the UK as it would disturb the valuable cleaner-bag market, so Dyson launched it in Japan through catalog sales. Manufactured in bright pink, the G-Force had a selling price of £2,000 (British equivalent). It won the 1991 International Design Fair prize in Japan. He obtained his first U.S. patent on the idea in 1986 (U.S. Patent 4,593,429).

After failing to sell his invention to the major manufacturers, Dyson set up his own manufacturing company. In June 1993 he opened his research center and factory in Malmesbury, Wiltshire. The product now outsells those of some of the companies that rejected his idea and has become one of the most popular brands in the United Kingdom. In early 2005 it was reported that Dyson cleaners had become the market leaders in the United States by value (though not by number of units sold). Note that the US was introduced to Dyson when root cyclone was implemented, so in the US there were no sales of the DC01 – DC05 Dual Cyclone vacuum cleaners. The Dyson Dual Cyclone became the fastest selling vacuum cleaner ever to be made in the UK.

Dyson engineers were determined to create vacuum cleaners with even higher suction. This was achieved by adding a smaller diameter cyclone to give greater centrifugal force. This led to a way of getting 45% more suction than a dual cyclone and removing more dust, by dividing the air into 8 smaller cyclones, hence the name root cyclone. Dyson’s breakthrough in the UK market, more than 10 years after the initial idea, was through a TV advertising campaign that emphasized that, unlike most of its rivals, it did not require the continuing purchase of replacement bags. At that time, the UK market for disposable cleaner bags was £100 million. The slogan of ‘say goodbye to the bag’ proved more attractive to the buying public than a previous emphasis on the suction efficiency that its technology delivers. Ironically, the previous step change in domestic vacuum cleaner design had been the introduction of the disposable bag – users being prepared to pay extra for the convenience of dustless emptying.

Following his success the other major manufacturers began to market their own cyclonic vacuum cleaners. Dyson sued Hoover UK for patent infringement and won around $5 million in damages. His manufacturing plant moved from England to Malaysia, for economic reasons and because of difficulty acquiring land for expansion, leaving 800 workers redundant. The company’s headquarters and research facilities remain in Malmesbury. Dyson later stated that because of the cost savings from transferring production to Malaysia he was able to invest in R&D at Malmesbury. Dyson employs more people in the UK than he did before the transfer of manufacturing to Malaysia.

In 2005, Dyson added the wheel ball from his Ballbarrow concept into a vacuum cleaner, creating the Dyson Ball, claiming it to be more manoeuvrable.  In 2002 Dyson created a realization of the optical illusions depicted in the lithographs of Dutch artist M. C. Escher. Engineer Derek Phillips was able to accomplish the task after a year of work, creating a water sculpture in which the water appears to flow up to the tops of four ramps arranged in a square, before cascading to the bottom of the next ramp. The creation titled Wrong Garden, was displayed at the Chelsea Flower Show in the spring of 2003. The illusion is accomplished with water containing air bubbles pumped through a chamber underneath the transparent glass ramps to a slit at the top from which the bulk of the water cascades down. This makes it appear that the water is flowing up, when actually a small amount of water diverted from the slit at the top flows back down the ramps in a thin layer.

In 2000 Dyson expanded his appliance range to include a washing machine. Called ContraRotator it had two rotating drums which moved in opposite directions. The range was colored in the usual bright Dyson colors, rather than the traditional white, grey or black of most other machines. The item did not take off with the public and is no longer available.

In October 2006 Dyson launched the Dyson Airblade, a fast hand dryer. The Dyson Digital Motor produces an air stream flowing at 400 mph. This unheated air is channeled through a 0.3 millimetre gap. A sheet of air acts like an invisible windscreen wiper to wipe moisture from hands.

Dyson’s recent addition is a fan which is without blades, which he calls ‘Air Multiplier’. The fan works by sucking air through the bottom and channeling air through a hoop with a gap. The air flow through the bottom of the stand is “multiplied” three different ways in the fan structure. The first way is when the air flows over a wing like structure in the fan’s ring. It is further multiplied when it passes over the cone shape, also in the fan ring. Both of these create negative pressure and pulls the air around the fan through it. The final multiplication step is through viscous shearing when the air leaves the fan ring. The moving air shears through, and pulls in, yet more air flow; hence the 16-times multiplied air.

The James Dyson Award is an international design award that “celebrates, encourages and inspires the next generation of design engineers”. It is organised and run by the James Dyson Foundation charitable trust, and is open to graduates (or recent graduates) in the fields of product design, industrial design and engineering.

It took James Dyson 5,127 prototypes,  14 years of debt, and multiple lawsuits to create the top-selling upright vacuum cleaner in the United States.

Never give up!

September 3, 2010

Caio Fonseca

Caio Fonseca (born 1959) is an American artist.  Fonseca was born in New York to a family of artists. His older brother Bruno Fonseca (1958-1994), was a well known contemporary artist. His father, Gonzalo Fonseca, was an Uruguayan sculptor.He was raised in New York City. He has lived, studied and painted in Barcelona, Spain; Pietrasanta, a town on the coast of northern Tuscany in Italy, in the province of Lucca; and Paris. Fonseca now divides his time between Pietrasanta and his Manhattan studio.

His paintings have been acquired by public and private collections in Europe and the United States, including the in New York Whitney Museum of American Art.  He was the 2004 artist-in-residence at the Music@Menlo chamber music festival in Menlo Park, California.

September 2, 2010

Claude and Francois-Xavier Lalanne

François-Xavier Lalanne, was the French artist known for surrealistic sculptures that often doubled as furniture.  With his wife Claude lalanne, also an artist, François-Xavier enjoyed great success with fashion designers, with commissions from the likes of Yves Saint Laurent and Pierre Bergé, Hubert de Givenchy and Karl Lagerfeld. Marc Jacobs, John Galliano and François Pinault collected works by the Lalannes, too.

“François-Xavier blended classicism with invention,” said Mitterrand “He was someone with references beyond our era,” continued Mitterrand. “His work had something of the Renaissance and ancient Greece and Rome. He admired Nicolas Poussin and Bach. There was a surrealistic touch in the way he transformed sculpture into everyday objects.”

Though often considered a team, Claude and François-Xavier seldom worked together, although their work bore a similar aesthetic.  François-Xavier’s work mostly took animal form, such as a bronze rhinoceros desk and a hippopotamus bar and Claude’s botanical-inspired furniture and flatware, are elegantly oblivious of the boundaries between fine and decorative art.

For the late Saint Laurent, François-Xavier created a bar with an egglike dome in which bottles were concealed. His wife, whose work was more organic, created a series of 15 bronze mirrors festooned with vines that were hung in the music room of Saint Laurent’s home on the Left Bank.

The Lalannes even collaborated with Saint Laurent for a bronze breastplate that served as the bodice of a gown in 1969.  Recently, the Lalannes’ work has found its way into fashion boutiques from Chanel to Dior. A Claude Lalanne gold crocodile reception desk greets shoppers at Tom Ford’s Madison Avenue flagship.

Decorator Peter Marino, himself an avid collector, used François-Xavier’s sculptures in the arrangement of Chanel’s fine jewelry shops, including a piece inspired by a stag in Coco Chanel’s apartment. “He was able to take something ordinary and make it extraordinary,” he said.

Reed Krakoff, executive creative director of Coach, is another avid collector. Two years ago, he published a book devoted to the Lalannes’ oeuvre.

A well kept secret in the art world, the Lalanne’s have produced collaborative and independent pieces for over 50 years. Francois, a man of short stature who, to me, looked goofy but very artsy in his round glasses, was known for his oversized and animal-shaped sculptures and furniture. Claude, a woman of similar stature (it’s wierd how long time couples resemble each other, like brother and sister), is known for her delicate and organic furniture and household accessories. During the course of their artistic careers, these two ascended above trends. During movements such as Pop Art, abstraction, and figuratitism, these two stuck to their Surrealist, decorative, and anthropomorphic style.

September 2, 2010

Richard Serra

Richard Serra (born November 2, 1939) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement.

Serra was born in San Francisco and he went on to study English literature at the University of California, Berkeley and later at the University of California, Santa Barbara between 1957 and 1961. He then studied fine art at Yale University between 1961 and 1964. While on the West Coast, he helped support himself by working in steel mills, which was to have a strong influence on his later work.  In June, 2008, Williams College conferred upon Serra the honorary degree of Doctor of Fine Arts.

Serra’s earliest work was abstract and process-based made from molten lead hurled in large splashes against the wall of a studio or exhibition space. Still, he is better known for his minimalist constructions from large rolls and sheets of metal (COR-TEN-Steel). Many of these pieces are self-supporting and emphasize the weight and nature of the materials. Rolls of lead are designed to sag over time. His exterior steel sculptures go through an initial oxidation process, but after 8–10 years, the patina of the steel settles to one color that will remain relatively stable over the piece’s life. Serra often constructs site-specific installations, frequently on a scale that dwarfs the observer.

September 1, 2010

David Adjaye


David Adjaye was born in Dar-Es-Salaam, Tanzania, where his father was a Ghanaian diplomat. He earned his BA at London South Bank University, before graduating with an MA in 1993 from the Royal College of Art.

In 1993, the same year after his graduation, he won the RIBA First Prize Bronze Medal. He started his own practice in 1994 called Adjaye Architects.In 2006 he was nominated for the Stirling Prize for his Whitechapel Idea Store in London.

He also collaborated with arteeeist Olafur Eliasson to create a light installation: Your black horizon at the Venice Biennale. He worked with Chris Ofili to create an environment for the Upper Room, now owned by Tate Britain. On April 15, 2009, the New York Times reported that Adjaye was selected to design the National Museum of African American History and Culture in Washington, D.C.

His offices are in North London.  He is a Senior Fellow of the Design Futures Council


September 1, 2010

Bert Stern

Bertram Stern (born 3 October 1929) is an American fashion and celebrity portrait photographer.

His best known work is arguably The Last Sitting, a collection of 2,500 photographs taken of Marilyn Monroe over a three day period, six weeks before her death, taken for Vogue. Stern published Marilyn Monroe: The Complete Last Sitting in 1992. In it, he recounted being enchanted by her until a near-intimate encounter after the second day of shooting; he then realized that she was deeply troubled.  He also directed Jazz on a Summer’s Day, a 1959 documentary film set at the 1958 Newport Jazz Festival. In 1999 the film was deemed “culturally significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

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