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Making a ring was really interesting since I’ve never made one before so this was a great experience.
Karl Fritsch
Karl Fritsch
Born in 1963, Fritsch began with traditional Goldsmith's practical training in 1982, followed by studies at the renowned jewelry dept. at the Munich Academy of Fine Arts. Frisch's works can be found in important private and public collections worldwide, including but not limited to the Stedelijk Museum (NL), the Museum of Arts & Design, (NY- USA), and the Metropolitan museum (NY- USA).
I don’t think I’ve ever seen a jeweler who approaches making jewelry in the same manner as German Karl Fritsch. I’ve always been used to seeing elegant, beautiful works of jewellery, sometimes a bit funky but in his case it was like if you told a child to draw you a jewellery design without a thought this is what the outcome would look like. It’s like Working with a childlike playfulness and a rebellious irreverence, Fritsch simultaneously embraces and disregards all the historical traditions of his craft. He boldly pushes the boundaries so far past the point of ridiculousness that they reach the point of profundity, and this wit has made Fritsch a favorite with fine art and jewelry collectors alike. Going through his gallery work they all look very interesting but I definitely don’t see myself wearing some as it looks like it would get caught from my hair, knitted sweater or bag but I think it’s fun to look at it. If possible I’d like to try and recreate my own funny ring.
I Hate Fritsch, 2017, ring,
Robert Rauschenberg
Robert Rauschenberg
(October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the Pop art movement. Rauschenberg is well known for his Combines (1954–1964), a group of artworks which incorporated everyday objects as art materials and which blurred the distinctions between painting and sculpture. Rauschenberg was both a painter and a sculptor, but he also worked with photography, printmaking, papermaking and performance.He lived and worked in New York City and on Captiva Island, Florida, until his death on May 12, 2008.
Some really interesting facts found about Robert
He had relationships with men
Rauschenberg’s sexuality is often deliberately ignored or downplayed by curators and critics, in part because – living as he did in hostile times – he didn’t wish to publicly discuss it or, indeed, be judged because of it. It’s important to remember, however, that Rauschenberg’s artistic development, at least during the 1950s, was intimately intertwined with his romantic life. Married for two years to the American artist Susan Weill, shortly before the birth of their son Christopher in 1951, Rauschenberg met the artist Cy Twombly who would soon become his lover. The following summer he and Twombly travelled to Rome where they would remain for six months. A year later Rauschenberg was introduced to the artist (and Korean War veteran) Jasper Johns – a meeting that would herald perhaps the most formative romantic and artist partnership of his life. In 1955, Rauschenberg and Johns moved in together and, for the next seven years, became a highly productive couple. Later, during the last 25 years of his life, Rauschenberg would live happily in Florida with the artist Darryl Pottorf.
He had Christmas lunch with his hero, Marcel Duchamp
It’s impossible to overestimate the influence of Dada artist Marcel Duchamp on the work of 20th century avant-garde artists. Duchamp denied any distinction between ‘art’ and ‘life’, and produced work that blurred those, and many other, conceptual categories. For Rauschenberg, who similarly tried to “act in the gap between the two”, Duchamp was a hero. Rauschenberg’s symbolic erasing (and subsequent framing) in 1953 of a drawing by artist Willem de Kooning is just one example of how Rauschenberg continued Duchamp’s provocative irreverence. The following year, again demonstrating Duchamp’s legacy (and too skint to buy art materials), Rauschenberg scoured the streets for discarded items he could incorporate into his work, resulting in his now-famous ‘combines’. Rauschenberg must have been thrilled to read a 1959 press interview with Duchamp in which the old man mentions his work. That Christmas, Duchamp and his wife sought out Rauschenberg and Johns, visiting their Downtown studio apartment, all four enjoying Christmas day lunch in nearby Chinatown.
He was also a set designer, choreographer and dancer
Interested in the “total work of art”, Rauschenberg was always an advocate for collaboration across artistic fields. Yet it’s a little-known fact that – beside being a painter, collagist, photographer, printer and sculptor – Rauschenberg was also a theatrical set and costume designer, a choreographer of dance and an experimental performer in his own right. His first collaboration occurred in 1955, and developed in tandem with an exhibition of his work at New York City’s Egan Gallery. Rauschenberg’s friend and neighbour, the composer Morton Feldman, produced a musical accompaniment (later known as the Morton Feldman Concert with Paintings) to be played in the gallery alongside his work. That same year Rauschenberg began designing sets and costumes for dancer Paul Taylor’s New York City theatrical performance of Circus Polka, and for choreographer Merce Cunningham’s dance performance of Springweather and People in upstate New York. During the 1960s Rauschenberg would go on to develop a series of vibrant artistic ‘happenings’ – enmeshed in their cultural ‘moment’ – by choreographing collaborations that included movement performances of his own. In Shot Put (1964), one of his most expressive works, Rauschenberg “drew with light” by dancing in a darkened room with a flashlight attached to his right ankle.
Robert Rauschenberg, Charlene, 1954,
oil, charcoal, printed reproductions, newspaper, wood, plastic mirror, men’s undershirt, umbrella, lace, ribbons, fabrics, and metal on Homasote mounted on wood, with electric light,
in this piece Rauschenberg included an electric light, a mirror, a flattened umbrella, a t-shirt and reproductions of well-known artworks. He also incorporated newspapers, magazines and comic books in the center and left hand panels. This use of collage can be traced back to Picasso and Braque’s work from around 1912. The space in which Charlene hangs has a great impact on the piece. First, the large mirror reflects the area surrounding the painting and second, the wall behind the painting is visible through a cut out to the left of the umbrella. On his use of objects from the real world Rauschenberg said, “I don’t want a painting to look like something it isn’t, I want it to look like something it is.”
What I Like about Robert Rauchenberg’s work is that it almost has everything in it. As the materials stated its amazing you can use about ANYTHING to create art. very much a ready-made art work. and the outcome came out looking rustic to me. it looks like a part of a wall or roof from a village in the philippines when its been rained on and rust starts accumulating on it.
Like Robert Rauchenberg’s work I try to use my craft box the stuff i had in side was mainly used for kids arts and craft. Kinda wish i had his witt to just use anything and paint over it and make it work
LOWRI DAVIES
LOWRI DAVIES
Having practiced as a ceramic artist since 2001, Lowri predominantly creates decorative bone china tableware from her studio in Cardiff.
Cardiff based artist Lowri Davies creates works in bone china and porcelain, creating collections of china teacups, jugs, vases and plates which are then characterised by slanted openings and decorated with ink and watercolour drawings. Her work stems from references to china displays on Welsh dressers, collections of souvenirs and vibrant illustrations of birds drawn from Victorian taxidermy collections.
These objects and images often refer to a sense of place by reviving iconography and symbolism, which have a deep connection to her roots in North Wales.
Porcelain, Bone China
This cup, jug and plate has a very interesting shape to it since it’s not like the usual shape of the jug or cup. I feel like if I stack the cups on top of each other it would look like topsy turby. Lowri’s pieces are characterised by slanted openings, vibrantly coloured interiors, decorated with decals of ink and watercolour drawings, and finished with platinum or gold lustre. Her early work was very much about documenting a way of life that was disappearing. She deliberately uses industrial processes to create her work, but on a very small scale. It is the same process that was used to make most of the ceramics that adorned her Nain’s home (grandmother).
The decoration work is beautiful, and Lowri has attempted to create her own versions by including birds, flora and fauna as decoration.
Similar to Lowri Davies’s work, I like to document my experiences through my illustration like for instance Mocha (my cat) in my zines and books he's an embodiment of me who's exploring the new world.
Basically made landscapes of Mocha going out in the woods, using twigs and leafs and other stuff to make it look like his in a field of wondrous greenery
Jasper Johns
Jasper Johns
Jasper Johns was an artist that came onto the scene in the 1950s. Much of the work that he created led the American public away from the expressionism form, and towards an art movement or form known as the concrete. He would depict many flags and maps, and this created a more distinct style with the work that was being done during this period in American art history. He was also one of the leading forces to the pop form known as minimalism; even to this day, many of the pieces that are sold at auction, bring in extremely high price tags, and sell for record amounts.
Jasper Johns, Scent (1975–6)
Lithograph, linocut and woodcut on paper
The image consists of three panels, each executed in a different manner; lithographically with tusche strokes on the left, lino-cut in the centre and wood-cut (with fine woodgrain) on the right. The infrastructure of ‘Scent’ has been discussed with a view to fathoming Johns' intentions in ‘hiding’ a serial articulation of the surface (op.cit., pp.48–9 and footnotes). Although the image is clearly divided into three panels, the configurations of marks repeat themselves in a sequence as follows: the marks to the right of the far left side, to the left of the two central vertical panel edges, and the marks at the far right side of the image are repeated in the same sequence to the left of a second notional set of vertical lines located to the right of the first set. The marks on the far edges of the image are congruent. Thus the sequence would be maintained if the print were rolled into a cylinder. Furthermore it would be possible to overlap a number of examples of ‘Scent’, repeating the sequence.
The print follows the painting ‘Scent’ 1974, in which the ‘hatching’ image was first used alone: it first appeared as the left hand panel of the four-part painting ‘Untitled’ 1972. Roberta Bernstein records that the image came from Johns' recollection of a pattern painted on a car: ...‘it could look either very sophisticated, like a Matisse, or very simple, like street art, and that while it was probably closer to the latter, he wanted it to be neither’ (‘Johns & Becket: Foirades/Fizzles’ Print Collectors' Newsletter, VII no.5, November–December 1976).
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