View allAll Photos Tagged Unmaking
Homeless men sleep on benches while a woman lies unprotected on the grass, not far from the impromptu commemorative site dedicated to the passing of politician Jack Layton. Candles, flowers, oranges, orange crush drinks and emotional chalk messages cover the walls and sidewalk of Toronto City Hall in memory of Jack Layton, Leader of the NDP. Even with this bounty so close at hand, the homeless leave it untouched. The sans-abris surround the site like sleeping sentries, an irony perhaps as Jack had once written a book entitled, "Homelessness: The Making and Unmaking of a Crisis?" With it, he helped increase public awareness of the problem and went on to establish homeless shelters in Toronto. This was an urgent reminder that the problem still exists and needs to be addressed. Unfortunately, not many of the thousands who came to pay their respects saw this scene, as by daylight the homeless have disappeared from the city hall, to once again wander unnoticed and shunned among the crowds.
Jack Layton Died Today© Linda Dawn Hammond / IndyFoto.com '11. Aug.22, 2011.
Unmade 07 Vases 2007.
Unmaking design.
What is the product of design?
Every vase is bought from a charity shop, second hand shop, jumble sale or car boot sale. The original glazed pattern is removed in parts leaving the logo brand unmade 07 in the original glaze.
© By Karen Ryan
Around the world, novelists are constantly rewriting history. Juan Gabriel Vasquez has questioned received versions of the history of Colombia in both The Informers and The Secret History of Costaguana, each time prompting a national re-examination of his country’s identity. Elif Shafak’s work blends both Western and Eastern traditions of storytelling to give voice to those who are often unheard in official narratives, whilst Hisham Matar’s own childhood in Libya has shaped the way in which he approaches his fiction. They talk to writer and translator Amanda Hopkinson about the peculiar ways in which writers can make and unmake history.
Order and Chance - The Unmaking of Time
Led by artist Sarah Sparkes
Monday 5 March – Saturday 31 March 2012,
This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.
Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.
Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.
This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.
An art and archaeology project working with the story of a house buried in five industrial spoil heaps, known as the Five Sisters. At the project’s heart is an Edwardian photographic postcard of the house and the memories of Isabella Mason Kirk, who once lived there.
Heritage Site was realised through Cycle 10 Alt-w Production Award and a series of essential collaborations. Members of the Calder History Group shared their knowledge of people, history and place. Artist Clara Ursitti created a pungent and evocative olfactory intervention working with speculative fiction and memory. From the Glasgow School of Art Stuart Jeffrey, Research Fellow in heritage visualisation, brought a background in archaeology, computer science and digital preservation. The initial creative work of Mike Marriott, artist and lecturer in Visualisation, formed the basis for the point cloud animations of house and bings, created by Clare Graham, a postgraduate student on the MSc in International Heritage Visualisation. Mike’s model also formed the basis for the 1:12 physical model, made by Kevin Thornton.
In partnership with Weave: Creativity, Community, Collaboration by Abertay University
About the Artist My work investigates the contemporary relevance of ‘found’ artefacts, their archives and specific sites through collaborative art processes with people who have significant connections to a hidden history. I am interested in how such artefacts, archives and sites carry both social and personal histories. This leads to a key question: what is our relationship to the past, and what is the value we ascribe to it? I have explored this through photography, bookworks, sound, the Internet and New Media. Dialogues with archivists, archaeologists, local community members, local history groups, and museum volunteers are instrumental in my practice. This means the collaborative process, and the physical site, shape the form of final artworks.
Photographs are often the starting point for a project, and their relationship to a present-day landscape. Therefore, living memory – before it becomes ‘history’ – is an important link to all my projects, which is why the recent past is of special interest. Since 2007, the use of oral reminiscence and exploration of non-invasive archaeological methods have become embedded in my practice. While the final outcomes of my projects may take different forms (such as a physical model for Heritage Site), they share the themes of land and heritage, working with individuals and communities who have witnessed significant change. This means stories and memories of place, work and family life include an aspect of the ‘unmaking’ of place, whether through economic decline and/or regeneration.
WEST WARD WORKS - PART OF THE GROUP EXHIBITION MEDIA ARCHAEOLOGY: EXCAVATIONS
Guthrie Street
DD1 5BR
Images: Nicky Bird 2017
Around the world, novelists are constantly rewriting history. Juan Gabriel Vasquez has questioned received versions of the history of Colombia in both The Informers and The Secret History of Costaguana, each time prompting a national re-examination of his country’s identity. Elif Shafak’s work blends both Western and Eastern traditions of storytelling to give voice to those who are often unheard in official narratives, whilst Hisham Matar’s own childhood in Libya has shaped the way in which he approaches his fiction. They talk to writer and translator Amanda Hopkinson about the peculiar ways in which writers can make and unmake history.
www.bollyy.com/reel-or-real-memoir-on-dr-manmohan-singh-u...
The first look of Accidental Prime Minister featuring Anupam Kher made huge zest in the nation. The very fact of a movie being made on former Prime Minister and his ‘making and unmaking’ made headlines everywhere. The striking resemblance of Anupam Kher as Dr. Manmohan Singh has turned heads and how. While the entire cast has been announced and all their looks have been revealed, audience are eagerly waiting for the movie to finally hit the theatres.
Someone makes herself comfie by unmaking the bed and snuggling in under the quilt.
~~~~~~~~~~~~~
I put a quilt over the duvet that I call "the bed condom" because it's meant to keep the hair and dirt from my dogs off of the duvet. Normally, I find it entirely effective, but not so much today.
Homeless men sleep on benches while a woman lies unprotected on the grass, not far from the impromptu commemorative site dedicated to the passing of politician Jack Layton. Candles, flowers, oranges, orange crush drinks and emotional chalk messages cover the walls and sidewalk of Toronto City Hall in memory of Jack Layton, Leader of the NDP. Even with this bounty so close at hand, the homeless leave it untouched. The sans-abris surround the site like sleeping sentries, an irony perhaps as Jack had once written a book entitled, "Homelessness: The Making and Unmaking of a Crisis?" With it, he helped increase public awareness of the problem and went on to establish homeless shelters in Toronto. This was an urgent reminder that the problem still exists and needs to be addressed. Unfortunately, not many of the thousands who came to pay their respects saw this scene, as by daylight the homeless have disappeared from the city hall, to once again wander unnoticed and shunned among the crowds.
Jack Layton Died Today© Linda Dawn Hammond / IndyFoto.com '11. Aug.22, 2011.
Santa Monica Pier.
This is my maiden voyage of time release shots. A special thanks to Marco www.flickr.com/photos/marcosiguenza/
for the crash course in nigh time photography! Mil gracias, Marco por el curso acelerado! And thanks to Megzzz for the heads up so that we could participate in history in the "unmaking".
Accidents build the subject, from the outside in. Our performances of maleness or femaleness make or unmake us. What’s real is “power”: I am its creation, an accident, as it were, to the “substance” of social authority. Angela Franks, Judith Butler's Trouble www.firstthings.com/article/2023/05/judith-butlers-trouble
An art and archaeology project working with the story of a house buried in five industrial spoil heaps, known as the Five Sisters. At the project’s heart is an Edwardian photographic postcard of the house and the memories of Isabella Mason Kirk, who once lived there.
Heritage Site was realised through Cycle 10 Alt-w Production Award and a series of essential collaborations. Members of the Calder History Group shared their knowledge of people, history and place. Artist Clara Ursitti created a pungent and evocative olfactory intervention working with speculative fiction and memory. From the Glasgow School of Art Stuart Jeffrey, Research Fellow in heritage visualisation, brought a background in archaeology, computer science and digital preservation. The initial creative work of Mike Marriott, artist and lecturer in Visualisation, formed the basis for the point cloud animations of house and bings, created by Clare Graham, a postgraduate student on the MSc in International Heritage Visualisation. Mike’s model also formed the basis for the 1:12 physical model, made by Kevin Thornton.
In partnership with Weave: Creativity, Community, Collaboration by Abertay University
About the Artist My work investigates the contemporary relevance of ‘found’ artefacts, their archives and specific sites through collaborative art processes with people who have significant connections to a hidden history. I am interested in how such artefacts, archives and sites carry both social and personal histories. This leads to a key question: what is our relationship to the past, and what is the value we ascribe to it? I have explored this through photography, bookworks, sound, the Internet and New Media. Dialogues with archivists, archaeologists, local community members, local history groups, and museum volunteers are instrumental in my practice. This means the collaborative process, and the physical site, shape the form of final artworks.
Photographs are often the starting point for a project, and their relationship to a present-day landscape. Therefore, living memory – before it becomes ‘history’ – is an important link to all my projects, which is why the recent past is of special interest. Since 2007, the use of oral reminiscence and exploration of non-invasive archaeological methods have become embedded in my practice. While the final outcomes of my projects may take different forms (such as a physical model for Heritage Site), they share the themes of land and heritage, working with individuals and communities who have witnessed significant change. This means stories and memories of place, work and family life include an aspect of the ‘unmaking’ of place, whether through economic decline and/or regeneration.
WEST WARD WORKS - PART OF THE GROUP EXHIBITION MEDIA ARCHAEOLOGY: EXCAVATIONS
Guthrie Street
DD1 5BR
Images: Nicky Bird 2017
An art and archaeology project working with the story of a house buried in five industrial spoil heaps, known as the Five Sisters. At the project’s heart is an Edwardian photographic postcard of the house and the memories of Isabella Mason Kirk, who once lived there.
Heritage Site was realised through Cycle 10 Alt-w Production Award and a series of essential collaborations. Members of the Calder History Group shared their knowledge of people, history and place. Artist Clara Ursitti created a pungent and evocative olfactory intervention working with speculative fiction and memory. From the Glasgow School of Art Stuart Jeffrey, Research Fellow in heritage visualisation, brought a background in archaeology, computer science and digital preservation. The initial creative work of Mike Marriott, artist and lecturer in Visualisation, formed the basis for the point cloud animations of house and bings, created by Clare Graham, a postgraduate student on the MSc in International Heritage Visualisation. Mike’s model also formed the basis for the 1:12 physical model, made by Kevin Thornton.
In partnership with Weave: Creativity, Community, Collaboration by Abertay University
About the Artist My work investigates the contemporary relevance of ‘found’ artefacts, their archives and specific sites through collaborative art processes with people who have significant connections to a hidden history. I am interested in how such artefacts, archives and sites carry both social and personal histories. This leads to a key question: what is our relationship to the past, and what is the value we ascribe to it? I have explored this through photography, bookworks, sound, the Internet and New Media. Dialogues with archivists, archaeologists, local community members, local history groups, and museum volunteers are instrumental in my practice. This means the collaborative process, and the physical site, shape the form of final artworks.
Photographs are often the starting point for a project, and their relationship to a present-day landscape. Therefore, living memory – before it becomes ‘history’ – is an important link to all my projects, which is why the recent past is of special interest. Since 2007, the use of oral reminiscence and exploration of non-invasive archaeological methods have become embedded in my practice. While the final outcomes of my projects may take different forms (such as a physical model for Heritage Site), they share the themes of land and heritage, working with individuals and communities who have witnessed significant change. This means stories and memories of place, work and family life include an aspect of the ‘unmaking’ of place, whether through economic decline and/or regeneration.
WEST WARD WORKS - PART OF THE GROUP EXHIBITION MEDIA ARCHAEOLOGY: EXCAVATIONS
Guthrie Street
DD1 5BR
Images: Nicky Bird 2017
Order and Chance - The Unmaking of Time
Led by artist Sarah Sparkes
Monday 5 March – Saturday 31 March 2012,
This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.
Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.
Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.
This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.
Around the world, novelists are constantly rewriting history. Juan Gabriel Vasquez has questioned received versions of the history of Colombia in both The Informers and The Secret History of Costaguana, each time prompting a national re-examination of his country’s identity. Elif Shafak’s work blends both Western and Eastern traditions of storytelling to give voice to those who are often unheard in official narratives, whilst Hisham Matar’s own childhood in Libya has shaped the way in which he approaches his fiction. They talk to writer and translator Amanda Hopkinson about the peculiar ways in which writers can make and unmake history.
Order and Chance - The Unmaking of Time
Led by artist Sarah Sparkes
Monday 5 March – Saturday 31 March 2012,
This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.
Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.
Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.
This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.
Order and Chance - The Unmaking of Time
Led by artist Sarah Sparkes
Monday 5 March – Saturday 31 March 2012,
This five-session course invites you to celebrate and engage with the diverse body of works and processes developed by the Italian artist Alighiero e Boetti. His extensive artistic practice is unique in the choice of materials, techniques and artistic strategies that he developed over the three decades of his professional life.
Time – its construction and de-construction – appeared as a recurring theme for Boetti. He was interested in the relationship between the conception of an idea and its execution, often directing others to make his artworks. Boetti considered everything in the world of potential use to the artist. The ephemera of the everyday were media through which he could explore his interest in the opposing relationship between order and chance, the individual and society, error and perfection.
Inspired by Boetti’s practice, this course is an opportunity to investigate and practically engage with the methods of working collaboratively and individually to create both intimate and large-scale works. Using everyday, easily accessible ephemera such as postcards, calendars, magazines, diaries, graph paper, maps and charts, we explore the representation of time and other systems of order and how to visually ‘unmake’ them.
This five-session course will conclude with a small exhibition of work on Saturday 31 March 2012, 16.00–17.00 in the Level 7 East Room at Tate Modern, open to friends and family.
I've only worn my color affection I think once. And I really love that purpley-pink yarn so rippity rip I'm going to make something else out of it.
Around the world, novelists are constantly rewriting history. Juan Gabriel Vasquez has questioned received versions of the history of Colombia in both The Informers and The Secret History of Costaguana, each time prompting a national re-examination of his country’s identity. Elif Shafak’s work blends both Western and Eastern traditions of storytelling to give voice to those who are often unheard in official narratives, whilst Hisham Matar’s own childhood in Libya has shaped the way in which he approaches his fiction. They talk to writer and translator Amanda Hopkinson about the peculiar ways in which writers can make and unmake history.
'Scatter' in progress in my studio.
'Scatter' is part of the ongoing Pin Series, a collection of sculptures, performances and drawings made with pins and featuring a lot of obsessive repetition and an interest in pattern-making.
'Scatter' took 31 hours 24 minutes to make, spread over a period of 8 weeks. Altogether I pinned 280 rows and each row contained either 46 or 47 pins, which means that I put at least 12, 880 pins into this piece of fabric.
However, because of the inherent fragility of the work very few of those pins now remain in the piece. With each row that I pinned more of the previous pins would fall out: in effect, the making of the piece also proved to be its unmaking.
You can find out more about my art on my website.
Around the world, novelists are constantly rewriting history. Juan Gabriel Vasquez has questioned received versions of the history of Colombia in both The Informers and The Secret History of Costaguana, each time prompting a national re-examination of his country’s identity. Elif Shafak’s work blends both Western and Eastern traditions of storytelling to give voice to those who are often unheard in official narratives, whilst Hisham Matar’s own childhood in Libya has shaped the way in which he approaches his fiction. They talk to writer and translator Amanda Hopkinson about the peculiar ways in which writers can make and unmake history.
Seeing this transports me back to a time where i was just having pure unmaking images. This summer that I made it in was probably one of the most creative as i had just finished my a levels and going of to start my foundation diploma so my mind was going off in every direction with ideas, feelings and emotions and i think this image really captures this.
I've recently uploaded my most recent project to my Instagram (link in my about page) and soon will be uploading them to my website and will continue to plan and upload all my fine art photographs here so stay tune on all my profiles!