View allAll Photos Tagged Unmaking
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!
Day 91: Friday, April 1, 2011: Cowboy, balloons, Christmas tree, tripod
Today was a quiet day at home, except for an hour or so in the afternoon when I took Claire to help out at a 4-H fundraiser. (Her duties consisted of standing in front of the Pizza Factory with a sign, doing her best carnival imitation: Mention FOUR H when you BUY yer PIZZA! Help SEND us to CAMP! I thought about teaching her a song-and-dance routine to go with it, but then I remembered how awesome it wasn't to be the kid who did fun and silly things in public with no thought of the social consequences, and thought better of it.)
This gentleman (a local photographer of whose skills I am completely and utterly in awe) was standing across the street. He happened to look down and to his left in the slanting five o'clock light and it was one of those moments where things seem to whir and click into place -- the kind of almost-too-much glimpse of perfection that Emily called "the flash"* and Anne called "a thrill"*. (The kind of moment, I might add, when you are immensely glad you happen to have your camera around your neck with a long lens attached.) Even the tripod, balloons, and store window behind him couldn't unmake that moment. :)
*If you have no idea what I'm talking about, get thee to the L.M. Montgomery section of your favorite bookstore, posthaste.
Enlace al Catálogo FAMA:
encore.fama.us.es/iii/encore/record/C__Rb2849371?lang=spi
Testosterone Rex is the powerful myth that squashes hopes of sex equality by telling us that men and women have evolved different natures. Fixed in an ancestral past that rewarded competitive men and caring women, these differences are supposedly re-created in each generation by sex hormones and male and female brains.
Testosterone, so we’re told, is the very essence of masculinity, and biological sex is a fundamental force in our development. Not so, says psychologist Cordelia Fine, who shows, with wit and panache, that sex doesn’t create male and female natures. Instead, sex, hormones, culture and evolution work together in ways that make past and present gender dynamics only a serving suggestion for the future – not a recipe.
Testosterone Rex brings together evolutionary science, psychology, neuroscience and social history to move beyond old ‘nature versus nurture’ debates, and to explain why it’s time to unmake the tyrannical myth of Testosterone Rex.
For fans of Fine – whose Delusions of Gender ‘could have far-reaching consequences as significant as The Female Eunuch’ (Viv Groskop, Guardian) – and thousands of new readers, this is an upbeat, timely and important contribution to the debate about gender in society.
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.
UnMade 07 Vase 2007.
Unmaking design.
What is the product of design?
Photographed for the Pierre Berge & Associes design auction 17th June 2009.
© By Karen Ryan
www.time.com/time/specials/2007/style_design/article/0,28...
Das erste Weihnachtspuzzle in diesem Jahr!
Diesmal nicht dasselbe Strickmuster wie bei 4 anderen mit derselben Grösse. Teile habe ich diesmal nicht gezählt. War schwieriger als die anderen.
Einige Teile waren schlecht getrennt (Foto), insgesamt sehr lose, viel Kartonstaub im Beutel.
***************************************
Hersteller: SunsOut
Jahr: 2021 (Schachtelboden)
Artikelnummer: 31618
Anzahl Teile: 550 (unregelmässige, nicht gezählt)
Masse: 39.5x46 cm
Bild: Linda Elliott
Kaufdatum und Ort: Puzzleonline.de, Oktober 2024.
Datum gelegt: 9.-10. Dezember 2024.
Legezeit: 252 Min. - 4 Std. 12 Min.
******************************
Brand: SunsOut
Year: 2021
Item no.: 33618
Number of pieces: 550 (irregular shapes - not counted)
Measures: 15.5"x18"
Image by Artist/Photographer: Linda Elliott
Date and place of purchase: Puzzleonline.de, October 2024.
Date of completion: December 9-10, 2024.
Time for completion: 252 min.
Unmade 07 Vases 2007.
Unmaking design.
What is the product of design?
Exhibited Trash Luxe exhibition Liberty's London 2007.
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
medievalpoc: Fiction Week Annals of the Western Shore by Ursula K. LeGuin From Wikipedia: The books in the trilogy share the same imaginary world; their plots are set among small city states and independent polities, in a fertile region on the western shore of a continental land mass, in an otherwise unspecified world. The culture is at a generally medieval level, with traditional crafts but no advanced technology. The three books share some characters; the protagonists in Gifts reappear as supporting or minor characters in the later books. Gifts centers on two young people, Gry and Orrec, who struggle to come to terms with inherent psychic abilities. They live in a poor, mountainous, and culturally backward region, famous for its “witches” and wonder-workers. Gry is a girl who can communicate with animals; she refuses to use her gift to aid hunters, which sets her apart from many in her culture, including her own mother. Orrec is a boy whose supposed gift of “unmaking” is apparently so dangerous that he voluntarily goes through life blindfolded, to avoid causing destruction. The story reveals how Orrec and Gry cope with their gifts, and eventually leave their mountainous home for the wider world. Voices tells the story of Memer, a girl who lives in an occupied country. Her home, Ansul, has been conquered by the Alds, a desert people from the east, who are now its brutal and superstitious occupiers. Memer secretly learns of a world of suppressed books and writings, and falls in love with her people’s ancient literature; she meets Gry and Orrec, who come to Ansul as travelling storytellers. Together, their entwined fates play out against the outcome of the political struggle of Ansul and the Alds. In Powers, Gavir is a slave who develops a gift for precognition. He is trained to serve as a teacher for a noble family in the city of Etra; but personal tragedy drives him into the life of a hunted wanderer. He endures adventures, challenges, and suffering. Eventually he escapes to a new and happy life that he shares with Memer, Gry, and Orrec.
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.
5/2/2016.
We're three eps into an amazing season 2 now. Watch Monday nights on Syfy! To play catch-up, consider the interwebs your time machine—all episodes are currently available via…
4/15/2016.
This design is now available on several nouns at TeePublic and RedBubble! Get yours now and join the Army! =)
Black on select colors at TeePublic
Red on select colors at TeePublic
Black on select colors at RedBubble
4/6/2016.
Some rambling crazy talk on events of season 1. Unmake history!~
4/18/2015.
Tall Man wants YOU for the Army of the 12 Monkeys! (but *Why?*)
I don't know where "Pallid Man" came from, but if we're not calling him Tom Noonan or X-Files Serial Killer I'm gonna stick w Tall Man for as long as possible.
Also, I'm using"Uncle Sam" in reference to the starred and striped spirit of the U.S.A., but I do appreciate the serendipitous namesake hinting at the theory that Tall Man is a Splintered Sam Ramse.
I don't necessarily *believe* that, but I dig the fateful alignment. =)
After James Montgomery Flagg's painted poster design.
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.
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.
Well it had to be done really, didn't it.
And omg, what an original name...But yeah, Tania has pretty, unmake-uped eyes. Big glasses suit her.
© Claire Nottingham
Every Increased Possession Loads Us with New Weariness by Revital Cohen & Tuur Van Balen which reverses the supply chains of the development; unmaking the building and remaking into an artificial mineral of steel, concrete, glass, aluminium, copper, cast iron and Caithness stone.
East Croydon. Lockdown day 124 walk. 25 July 2020
Sariah Park, Impressions, 2019, Ink on paper, 22"h, 30"w
Can printmaking be used as a tool to unmake waste? Every year 20 million tons of post consumer textile waste is put into landfills. After years of working as a textile print artist and seeing this waste creation first hand, my work strives to unmake waste and give value back to these materials. All the prints in this series are made using waste, transforming discarded material into new forms. These pieces come to life by listening to my materials and letting them dictate the final outcome. By surrendering to the materiality, the work takes on a life of its own, creating a more spontaneous and unpredictable result. This process of creating has taught me to be more in tune with my materials and more aware of their inherent capabilities. The concept of waste is man made, even the most damaged materials can be repurposed or reused to bring about something new.
she is a Hindustanis.. 20 years old (same age with me) but already married with a man aged 27.
do not know how to speak malay, only a few words of english. but, when i sent the weeding album to her family house, she seems like a maid in that house, her face is totally different which i saw before.. weak, unmake up and a bit messy. i feel pity to her, but i hope my assumption is wrong. hopefully, she living happily with her husband 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.
Miss Bear knows the deal. She'd never unmake the bed. Do note, though, that there is a doggy bed on the floor behind her.
~~~~~~~~~~~~~
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.
There rises a barrier across which no voice can ever carry,
For devils are unmaking language. We must let that alone forever.
Uproot your loves, one by one, with care, from the future,
And trusting to no future, receive the massive thrust
And surge of the many-dimensional timeless rays converging
On this small, significant dew drop, the present that mirrors all.
This shot really shows the ethereal delicate quality of 'Scatter', something that was a little lost when I installed it in 'Broken Threads', my solo show of 2006.
'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.
beyond text: making unmaking. Fiona james & Jane Francis Dunlop. two bodies give a lecture one stays on the table one does not
nic: " We cannot continue the course of relentless accumulation and exponential growth. The planet will no longer support the cradle to grave system that underpins our so-called wealth. Bluntly, turning natural resources into products and burying them in the ground is not sustainable. We are hitting a limit.
This crisis is debilitating. It induces chronic inertia. How does one design in the now without curtailing the future? We’re moving into the situation where even thoughts have a carbon footprint and the internalization of eco-surveillance seems inevitable. How do we curtail the violence of design or at least steer our making-unmaking into a more sustainable territory?"
I must say to myself that I ruined myself, and that nobody great or small can be ruined except by his own hand. I am quite ready to say so. I am trying to say so, though they may not think it at the present moment. This pitiless indictment I bring without pity against myself. Terrible as was what the world did to me, what I did to myself was far more terrible still.
I was a man who stood in symbolic relations to the art and culture of my age. I had realised this for myself at the very dawn of my manhood, and had forced my age to realise it afterwards. Few men hold such a position in their own lifetime, and have it so acknowledged. It is usually discerned, if discerned at all, by the historian, or the critic, long after both the man and his age have passed away. With me it was different. I felt it myself, and made others feel it. Byron was a symbolic figure, but his relations were to the passion of his age and its weariness of passion. Mine were to something more noble, more permanent, of more vital issue, of larger scope.
The gods had given me almost everything. But I let myself be lured into long spells of senseless and sensual ease. I amused myself with being a flâneur, a dandy, a man of fashion. I surrounded myself with the smaller natures and the meaner minds. I became the spendthrift of my own genius, and to waste an eternal youth gave me a curious joy. Tired of being on the heights, I deliberately went to the depths in the search for new sensation. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both. I grew careless of the lives of others. I took pleasure where it pleased me, and passed on. I forgot that every little action of the common day makes or unmakes character, and that therefore what one has done in the secret chamber one has some day to cry aloud on the housetop. I ceased to be lord over myself. I was no longer the captain of my soul, and did not know it. I allowed pleasure to dominate me. I ended in horrible disgrace. There is only one thing for me now, absolute humility.
They are cutting down the great plane-trees at the end of the gardens.
For days there has been the grate of the saw, the swish of the branches as they fall,
The crash of the trunks, the rustle of trodden leaves,
With the ‘Whoops’ and the ‘Whoas,’ the loud common talk, the loud common laughs of the men, above it all.
I remember one evening of a long past Spring
Turning in at a gate, getting out of a cart, and finding a large dead rat in the mud of the drive.
I remember thinking: alive or dead, a rat was a god-forsaken thing,
But at least, in May, that even a rat should be alive.
The week’s work here is as good as done. There is just one bough
On the roped bole, in the fine grey rain,
Green and high
And lonely against the sky.
(Down now!—)
And but for that,
If an old dead rat
Did once, for a moment, unmake the Spring, I might never have thought of him again.
It is not for a moment the Spring is unmade to-day;
These were great trees, it was in them from root to stem:
When the men with the ‘Whoops’ and the ‘Whoas’ have carted the whole of the whispering loveliness away
Half the Spring, for me, will have gone with them.
It is going now, and my heart has been struck with the hearts of the planes;
Half my life it has beat with these, in the sun, in the rains,
In the March wind, the May breeze,
In the great gales that came over to them across the roofs from the great seas.
There was only a quiet rain when they were dying;
They must have heard the sparrows flying,
And the small creeping creatures in the earth where they were lying—
But I, all day, I heard an angel crying:
‘Hurt not the trees.’
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
Sariah Park, Color Field, 2018, Ink on paper, 54"h, 36"w
Can printmaking be used as a tool to unmake waste? Every year 20 million tons of post consumer textile waste is put into landfills. After years of working as a textile print artist and seeing this waste creation first hand, my work strives to unmake waste and give value back to these materials. All the prints in this series are made using waste, transforming discarded material into new forms. These pieces come to life by listening to my materials and letting them dictate the final outcome. By surrendering to the materiality, the work takes on a life of its own, creating a more spontaneous and unpredictable result. This process of creating has taught me to be more in tune with my materials and more aware of their inherent capabilities. The concept of waste is man made, even the most damaged materials can be repurposed or reused to bring about something new.