View allAll Photos Tagged readymade
Flashing Dog,1, at Texas Lunch, Main Street, Loch Haven, Pennsylvania. Loch Haven was the home of famous Ashcan School painter, John Sloan. Origin of Readymade
ReadyMakers:
This lamp idea was published in ReadyMade’s book, and I’ve slowly acquired the supplies and tools to finally make it.
To cover the soldered cords and old fixture, I chose a Tomoko Fuse corrugated vase cover/lampshade from her Home Decorating with Origami book. I tried many other ideas, like Rizoma’s pleated spiral, but I couldn’t easily work out the right circumferences in his more complicated version.
I made the cover from polypropylene (100# Yupo), and it’s velcroed together for easy removal and cleaning. It makes a hexagon to be congruent with the six bottles in an equilateral triangle format.
Fuck You is a readymade (an old glove on top of a table flag mast) by Jan Theuninck, 2010
Een readymade, april 2010, hoogte 33 cm, breedte 13 cm, diepte 6 cm
Jan Theuninck is a Belgian painter
www.boekgrrls.nl/BgDiversen/Onderwerpen/gedichten_over_sc...
www.forumeerstewereldoorlog.be/wiki/index.php/Yperite-Jan...
www.graphiste-webdesigner.fr/blog/2013/04/la-peinture-bel... (2004)
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
"Power surplus?".
Actor Christopher Walken as Max Shreck in Tim Burton's Batman Returns, 1992.
Rectified Readymade.
Don't use or reproduce this image on Websites/Blog or any other media without my explicit permission.
© All Rights Reserved.
Connectivity and readymade practice : experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
New media art course at Erg, Brussels.
Love the WPA style posters. These were made for Readymade Magazine for a new look for the original idea. State sponsored art propaganda, for our new economic and environmental crises.
doppio scatto con image sistem con l'aggiunta di un paio di orecchini perche il boccaccio l'ha dimenticato!!!
The kit and its assembly:
Well, this is a rather unusual what-if “build”, since this not a model kit as such but rather the conversion of a readymade H0 gauge model railway locomotive for the “Back into service” group build at whatifmodelers.com in late 2019.
The inspiration was not original, though: some time ago I stumbled across a gift set from the former East-German manufacturer Piko, apparently for the Polish market. It contained a set of double deck passenger wagons, and a (highly simplified, toy-like) German BR 216 in PKP markings. It was called SU-29 and carried a very crude and garish green livery with yellow front ends – inspired by real world PKP diesel locomotives, but… wrong. I found this so bizarre that it stuck in my mind. When I dug a little further, my surprise even grew when I found out that there were other national adaptations of this simple Piko BR 216 (e .g. for Denmark) and that Piko’s competitor Roco offered a similar BR 215 in PKP colors, too! This time, the fictional locomotive was designated SU-47 (which cannot be since this would indicate a locomotive with electric power transmission – poor job!), and it also wore a bright green livery with yellow front markings. Bizarre… And the PKP does NOT operate any BR 216 at all?!
However, with the GB topic in mind, I decided to create my own interpretation of this interesting topic – apparently, there’s a market for whiffy model locomotives? The basis became a 2nd hand Märklin 3075 (a BR 216 in the original red DB livery), not a big investment since this is a very common item.
In order to easy painting, the locomotive was disassembled into its major sections and the body stripped of any paint in a one-week bath in oven cleaner foam, a very mild and effective method.
The heavy metal chassis was not modified, it just received a visual update (see below).
The upper body underwent some cosmetic surgery, though, but nothing dramatic or structural, since the DH 1504 described above only differs in minor external details from the original BR 216. I decided to modify the front ends, especially the lights: Locomotives in PKP service tend to have VERY large lamps, and I tried to incorporate this characteristic feature through masks that were added over the original light conductors, scratched from styrene tube material.
In the course of this facial surgery, the molded handles at the lower front corners were lost. They were later replaced with three-dimensional silver wire, mounted into small holes that were drilled into the hull at the appropriate positions. Fiddly stuff, but I think the effort was worth it.
The original vent grills between the lower lamps were sanded away and covers for the multiple working cable adapters on the front ends added – scratched with small styrene profile bits.
For a cleaner, modern look, I removed the original decorative aluminum profile frame around the upper row of cooling louvers. The roof was modified, too: beyond the bigger headlight fairing, the exhaust for the auxiliary diesel engine was removed, as well as the chimney for the old steam heating system. The diesel engine’s exhaust pipes were lengthened (inspired by similar devices carried by DB BR 218), so that the fumes would be deviated away from the locomotive’s hull and the following wagons. Horns and a blade antenna for each driver’s cabin were added, too.
Painting and markings:
Both Piko and Roco V 160s in PKP markings look garish – righteously, though, since PKP locomotives used to carry for many years very striking colors, primarily a dark green body with a light green/teal contrast area on the flanks and yellow quick recognition front markings. However, I did not find any of the two model designs convincing, since they rather looked like a simple toy (Piko) or just wrong (Roco, with a surreal grass green contrast tone instead of the pale teal).
I rather went for something inspired by real world locomotives, like the PKP’s SU- and SP-45s. The basic design is an upper body with a dark green base (Humbrol 76, Uniform Green) and a pale green-grey area around the upper row of louvres (an individual mix of Humbrol 96 and 78). The kink under the front windows was used for waterline reference, the front section under the windows (in the dark green base) was painted in bright yellow (Humbrol 69) as a high-viz contrast, a typical feature of PKP locomotives. The chassis received a grey-green frame (somewhat visually stretching the locomotive) with bright red (Humbrol 19) headstocks, a nice color contrast to the green body and the yellow bib.
Silver 1.5mm decal stripes (TL Modellbau) were used to create a thin cheatline along and around the whole lower section. At some time I considered another cheatline between the light and dark green, but eventually ignored this idea because it would have looked too retro. The locomotive’s roof became medium grey (Revell 47).
The running gear and the tanks between the bogies were painted in very dark grey (Humbrol 67, similar to the original DB livery in RAL 7021) and weathered with a light black ink wash, some thinned Burnt Umbra (simulating dust and rust) plus some light dry-brushing with dark grey that emphasized the surface details. This used look was also taken to the upper body of the locomotive with watercolours (Grey, Black and some Sienna and Burnt Umbra) for a more natural look of daily service – rather subtle, and I emphasized the louvres, esp. on the light background, where they tended to disappear.
Individual markings consist of single decal letters in silver and white in various sizes (also TL Modellbau) for the locomotive’s registration code as well as of H0 scale catenary warnings from Nothaft Hobbybedarf, plus some generic stencils from various model decal sheets (incl. Cyrillic stencils from an 1:72 MiG-21 decal sheet…).
For a uniform finish I gave the locomotive an overall coat of matt acrylic varnish from the rattle can – it still has a slightly sheen finish and matches well the look of Märklin’s standard rolling stock.
Readymade Mens Special Occassional Wear Kurtas:
Sizes : Size 36, 38, 40, 42, 44
Sizes : 46, 48, 50, 52 (20% Extra)
Design No. - Price ( INR )
WKP-51 : Rs 2990 each ( Silk Brocade )
WKP-52 : Rs 2795 each ( Jacquord Brocade )
WKP-53 : Rs 2200 each ( Banarasi Fabric )
WKP-54 : Rs 2400 each ( Banarasi Brocade )
WKP-55 : Rs 2590 each ( Banarasi Jacquord )
WKP-56 : Rs 2200 each ( Banarasi Brocade )
WKP-57 : Rs 2495 each ( Dupian Silk )
WKP-58 : Rs 2550 each ( Brocade )
WKP-59 : Rs 2895 each ( Banarasi Jacquord )
WKP-60 : Rs 2795 each ( Brocade )
Ready to Ship
Readymade Mens Special Occassional Wear Kurtas:
Sizes : Size 36, 38, 40, 42, 44
Sizes : 46, 48, 50, 52 (20% Extra)
Design No. - Price ( INR )
WKP-51 : Rs 2990 each ( Silk Brocade )
WKP-52 : Rs 2795 each ( Jacquord Brocade )
WKP-53 : Rs 2200 each ( Banarasi Fabric )
WKP-54 : Rs 2400 each ( Banarasi Brocade )
WKP-55 : Rs 2590 each ( Banarasi Jacquord )
WKP-56 : Rs 2200 each ( Banarasi Brocade )
WKP-57 : Rs 2495 each ( Dupian Silk )
WKP-58 : Rs 2550 each ( Brocade )
WKP-59 : Rs 2895 each ( Banarasi Jacquord )
WKP-60 : Rs 2795 each ( Brocade )
Ready to Ship
Open shelves show off unique glasses and mugs and make for easy access to plates and dishes. Full cabinets would take too much room here.
The inventive and stylish New York loft of ReadyMade magazines editor-in-chief, Andrew Wagner.
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
The kit and its assembly:
Well, this is a rather unusual what-if “build”, since this not a model kit as such but rather the conversion of a readymade H0 gauge model railway locomotive for the “Back into service” group build at whatifmodelers.com in late 2019.
The inspiration was not original, though: some time ago I stumbled across a gift set from the former East-German manufacturer Piko, apparently for the Polish market. It contained a set of double deck passenger wagons, and a (highly simplified, toy-like) German BR 216 in PKP markings. It was called SU-29 and carried a very crude and garish green livery with yellow front ends – inspired by real world PKP diesel locomotives, but… wrong. I found this so bizarre that it stuck in my mind. When I dug a little further, my surprise even grew when I found out that there were other national adaptations of this simple Piko BR 216 (e .g. for Denmark) and that Piko’s competitor Roco offered a similar BR 215 in PKP colors, too! This time, the fictional locomotive was designated SU-47 (which cannot be since this would indicate a locomotive with electric power transmission – poor job!), and it also wore a bright green livery with yellow front markings. Bizarre… And the PKP does NOT operate any BR 216 at all?!
However, with the GB topic in mind, I decided to create my own interpretation of this interesting topic – apparently, there’s a market for whiffy model locomotives? The basis became a 2nd hand Märklin 3075 (a BR 216 in the original red DB livery), not a big investment since this is a very common item.
In order to easy painting, the locomotive was disassembled into its major sections and the body stripped of any paint in a one-week bath in oven cleaner foam, a very mild and effective method.
The heavy metal chassis was not modified, it just received a visual update (see below).
The upper body underwent some cosmetic surgery, though, but nothing dramatic or structural, since the DH 1504 described above only differs in minor external details from the original BR 216. I decided to modify the front ends, especially the lights: Locomotives in PKP service tend to have VERY large lamps, and I tried to incorporate this characteristic feature through masks that were added over the original light conductors, scratched from styrene tube material.
In the course of this facial surgery, the molded handles at the lower front corners were lost. They were later replaced with three-dimensional silver wire, mounted into small holes that were drilled into the hull at the appropriate positions. Fiddly stuff, but I think the effort was worth it.
The original vent grills between the lower lamps were sanded away and covers for the multiple working cable adapters on the front ends added – scratched with small styrene profile bits.
For a cleaner, modern look, I removed the original decorative aluminum profile frame around the upper row of cooling louvers. The roof was modified, too: beyond the bigger headlight fairing, the exhaust for the auxiliary diesel engine was removed, as well as the chimney for the old steam heating system. The diesel engine’s exhaust pipes were lengthened (inspired by similar devices carried by DB BR 218), so that the fumes would be deviated away from the locomotive’s hull and the following wagons. Horns and a blade antenna for each driver’s cabin were added, too.
Painting and markings:
Both Piko and Roco V 160s in PKP markings look garish – righteously, though, since PKP locomotives used to carry for many years very striking colors, primarily a dark green body with a light green/teal contrast area on the flanks and yellow quick recognition front markings. However, I did not find any of the two model designs convincing, since they rather looked like a simple toy (Piko) or just wrong (Roco, with a surreal grass green contrast tone instead of the pale teal).
I rather went for something inspired by real world locomotives, like the PKP’s SU- and SP-45s. The basic design is an upper body with a dark green base (Humbrol 76, Uniform Green) and a pale green-grey area around the upper row of louvres (an individual mix of Humbrol 96 and 78). The kink under the front windows was used for waterline reference, the front section under the windows (in the dark green base) was painted in bright yellow (Humbrol 69) as a high-viz contrast, a typical feature of PKP locomotives. The chassis received a grey-green frame (somewhat visually stretching the locomotive) with bright red (Humbrol 19) headstocks, a nice color contrast to the green body and the yellow bib.
Silver 1.5mm decal stripes (TL Modellbau) were used to create a thin cheatline along and around the whole lower section. At some time I considered another cheatline between the light and dark green, but eventually ignored this idea because it would have looked too retro. The locomotive’s roof became medium grey (Revell 47).
The running gear and the tanks between the bogies were painted in very dark grey (Humbrol 67, similar to the original DB livery in RAL 7021) and weathered with a light black ink wash, some thinned Burnt Umbra (simulating dust and rust) plus some light dry-brushing with dark grey that emphasized the surface details. This used look was also taken to the upper body of the locomotive with watercolours (Grey, Black and some Sienna and Burnt Umbra) for a more natural look of daily service – rather subtle, and I emphasized the louvres, esp. on the light background, where they tended to disappear.
Individual markings consist of single decal letters in silver and white in various sizes (also TL Modellbau) for the locomotive’s registration code as well as of H0 scale catenary warnings from Nothaft Hobbybedarf, plus some generic stencils from various model decal sheets (incl. Cyrillic stencils from an 1:72 MiG-21 decal sheet…).
For a uniform finish I gave the locomotive an overall coat of matt acrylic varnish from the rattle can – it still has a slightly sheen finish and matches well the look of Märklin’s standard rolling stock.
Another self...
dedicated to who everyday makes me laugh, gives me support and a lot of other things I'm grateful for.
And dedicated to me. I'm choosing my way, no matter how hard: It's just my life, my beautiful and coloured life.
There's no bag unable to contain my music, my brushes, my lenses...And soon I'll take a laptop ;)
I have arms to embrace the world, legs to walk everywhere, eyes to discover, ears to listen (not to hear...), voice to sing, a BIG nose to smell, mouth to kiss, heart to feel and my 'testa di cazzo' (wacky head :P) to process!
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
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rajshrifashion.in/portfolio/raj01887-readymade-kurtis-col...
www.artgallery.nsw.gov.au/collection/works/13.1993.a-pp/
The Trainer, 1992. The 9th Sydney Biennial curated by Anthony Bond. Collection AGNSW Sydney.
Wood, books, sport equipment. 350.0 x 1000.0 x 100.0 cm installed.
Collection of the AGNSW Sydney, Australia.
www.flickr.com/photos/artexh/9874514434/in/album-72157626...
1992 Sydney Biennial. Curator Anthony Bond. Participating artists: Charles Anderson, Hany Armanious, L. C. Armstrong, Miroslaw Balka, Cécile Bart, Bizhan Bassiri, Bennett Gordon, Joseph Beuys, Ashley Bickerton, Marcel Biefer, with Beat Zgraggen, Guillaume Bijl, Dominique Blain, Border Art Workshop/Taller de Arte Fronterizo, BP, Kate Brennan, Imelda Cajipe-Endaya, Campfire Group, Eugene Carchesio, Clause Carstensen, Helen Chadwick, Sarah Charlesworth, Counsell, Melanie Croft, Adrian Piper, Walter Dahn, Dolly Nampijimpa Daniels with Anne Mosey, Cathy de Monchaux, Wim Delvoye, Maria Anne Dewes, Sarah Diamond, Georg Jiri Dokoupil, Michiel Dolk, Milena Dopitova, Orshi Drozdik, Katsura Funakoshi, Diena Georgetti, Jochen Gerz, Guillermo Gomez-Pena, Coco Fusco, Rainer Gorb, Nigel Helyer and Anthony McGregor, Jorg Herold, Joyce Hinterding, Martin Honert, Lucero Isaac, Zuzanna (Baranowska) Janin, Tim Johnson, Narelle Jubelin, Jon Kessler, Anselm Kiefer, Martin Kippenberger, Igor Kopystiansky, Svetlana Kopystiansky, Kane Kwei, Janet Laurence, Bertrand Lavier, Annette Lemieux, Kamin Lertchaiprasert, Romero de Andrade Lima, Ken Lum, Fiona MacDonald, Per Maning, Claudia Matzko, Lazaro Garcia Medina, Yechiel Mirankar, Tracey Moffatt, Joey Morgan, Julia Morison, Juan Muñoz, Jean Baptiste Ngntchopa, Hitoshi Nomura, Antoine Oleyant, Orlan, Guilio Paolini, Perejaume, Kamol Phaosavasdi, Arrivalists Post, Marc Quinn, Charles Ray, readymades belong to everyone (Philippe Thomas), Gerhard Richter, Julie Rrap, Doris Salcedo, Eva Schlengel, Michael Scholz, Bill Seaman, Jeffrey Shaw, Claude Simard, Lorna Simpson, Vasan Sitthiket, Pia Stadtbaumer, Haim Steinbach, Mladen Stilinović, Peter Stitt, Annelies Strba, Tibor Szalai, Richard Tipping, Cyprien Tokougadba, van de Ven, Lidwien, Jan Vercruysse, Patrick Vilaire, Voyiya, Vuyile Cameron, Ruth Watson, Rachel Whiteread, Martin Wickstrom, Sue Williamson, Richard Wilson, Dan Wolgers, Erwin Wurm.
Readymade wearables generally found in stores are not suited to the body shape and length of Bengali people. Too long, too shaggy, too wide - the list goes on.
To save the day, there are tailors who provide the service to fix those issues with clothes.
I am a regular customer of them too. Reason is obvious, I am a Bengali guy too...!
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
Connectivity and readymade practice : experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
New media art course at Erg, Brussels.