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硕士课程论文格式样本:Pop Art style jewellery-Research Project

论文价格: 免费 时间:2011-03-30 10:45:40 来源:www.ukassignment.org 作者:留学作业网

Module 3 Research Project

Pop Art style jewellery


Introduction …………………………………………………………………………03
Main body ……………………………………………………………………………04
Pop Art over view ………………………………………………………………………04
Color application …………………………………………………………………………06
The repeating or restructuring elements…………………………………………
The link with popular or fashion industry ………………………………………
Reference ………………………………………………………………………………

With the mutual integration of variety field of modern art, the contemporary jewellery has absorbed a range of different artistic styles. Appeared in the late fifties of the twentieth century, during over half century development, Pop Art has been widely applied in various industries, such as fashion industry. As a part of the fashion industry, Pop Art style also has gradually added into contemporary jewellery. In this essay, how I think about Pop Art will be introduced. Under the research of those Pop Art artists’ work, I divided my own Pop Art style into 3 parts: color application, the repeating or restructuring elements and the link with popular industry or fashion industry. It will be introduced one main artist for each part. According to these researches, it is supposed to enhance my own work and give me a clue to find the way of how to be an independent artist.

 Pop Art overview

Today’s paper and electronic media are filled with items about pop music, pop stars, pop icons. In our increasingly global society, pop personalities and styles have no national borders. They are recognized all over the world. However, something or someone described as “pop” usually has a short shelf life: here today, gone tomorrow.#p#分页标题#e#

Not so with Pop Art, a pivotal modern art movement of the late 1950s and 1960s, that continues to exert influence today. It is the most powerful, the most popular, most widely spread and most influential art form in 20th century Post Modemism. Pop Art is an anti-modernist movement, opposed to the modernist which is focus on function, rationality and rigorous and rigid. Pop art attempted to overthrow the abstract expressionist art, and turned symbols, trademarks and so on as mass culture with the theme.

The word “Pop Art”, now we known, is suggested by art critics Laurence Alloway in 1956. And then in 1st July 1957, British artist Richard Hamilton gives a definition of Pop Art - “popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamorous, Big Business, stressed its everyday and commonplace values.” The work of him Just what is it that makes today's homes so different, so appealing (Picture 1) has been seen as the first work of Pop Art. He finished this work as a collage. He combined all kinds of elements, style and principle which he thought that is Pop Art. In this work, the artist use perspective and incorrect color which make the whole work shows a strange atmosphere. Presented in this collage which includes both men and women exaggerated sexual behavior, popular entertainment culture, comic books, Hollywood movies, and new technology and so on. Also, because the men in this picture is holding a lollipop with the printed words “pop”, then this kind of art style named Pop Art.

Pop Art style is not a simple, consistent style, but a mix of various styles. It pursued under mass, popular taste and against the lofty pretentious modernism. It emphasized the novelty and unique and bold to use gaudy colors. Pop Art focused on everyday objects rendered through an adoption of commercial art techniques. In so doing, artists availed themselves of images and ideas culled from popular culture — i.e., movies, comic books, advertising, and especially, television — faithfully reproduced in all their mass produced glory. By making use of what had been dismissed as "kitsch" by the art establishment, Pop artists whose works were displayed in museums effectively thumbed their collective noses at the distinctions between "highbrow" and "lowbrow" art. With Pop Art, the distinction between the “high” art of galleries and museums, and the “low” art of common commercial images, disappeared.

All pop art draws upon modern images of cultural icons, consumer products or modern conveniences, no matter what the message or nature of the art piece is. A piece of pop art may be assignment格式样板an oversized spoon and a cherry, a print of an altered picture of a movie star or a collage depicting people from advertisements using modern day products in unusual ways. In all cases, the art will refer in some way, shape or form to kitschy or commercial modern images commonly seen in movies, comic books, commercials and billboards.#p#分页标题#e#
Personalized pop art makes use of pictures of real people, or items or images specifically chosen to honor a person or celebrity. These images or photographs are mixed with abstract art or other images. Pop art takes its inspiration from the everyday images we see as we live our lives.

Color Application

One of Pop Art’s symbols is diversified splendours of the color application. bright and pure color. Different artists have different color sense, some of them like to use the bright color, some of them like to use the pure color, for example, as known as the father of Pop Art, Andy Warhol’s work. In his masterpiece, Marilyn Monroe(Picture 2), the Andy used a lot of simple and bright colors, to try to cause the viewer infinite curiosity. As a young art form, bright colorful colors more contrast out of Pop Art’s vitality. The strong color Pop Art work like an adult overnight, returned to his childhood, life is full of playful element. A symbol of precision, serious and responsible artistic designer the shuffled around the adult world and rigid rules of the game a bit for a living, an increase of color, a sub-humorous, very warm.
Diversified colorful Pop Art has always stressed ignore reason and logic. This kind of bold, selfhood and contempt for the rules’ combination lead us to reflect. Pop Art re-emerging becomes a link of the life and art. Life provides inspiration for artistic creation, on the contrary, art adds to life in a luxurious color.

Talking about incredible color sense, It has to be mentioned the artist Yayoi Kusama. Yayoi Kusama, born 22nd March 1929, is a Japanese artist. Her paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. Her work shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She describes herself as an "obsessive artist". Kusama is also a published novelist and poet, and has created notable work in film and fashion design. She has long struggled with mental illness. On 12th Nov 2008 Christies New York sold a work by her for $5,100,000, a record for a living female artist.

Red, green and yellow dots are the symbol of Yayoi Kusama’s work. These three colors’ dots are represented the sun, the Earth and the moon. She uses these repetitive dots by her own way to communicate with the world. She is a great user of the high-saturation contrast dot as patterns to fill over her paintings, soft sculpture, performance art and installation art.#p#分页标题#e#

She said, “The Earth is nothing but one of dots of more than one million dots." She use the dots to change the form of the inherent sense of the things that create continuity between the deliberately to create an infinite extension of space. Her works can exposure to which the audience cannot determine the true the border between the world and fairyland. These are all representative of her life.



 草间在相当早的创作时期就发展出了自己的特色,她善用高彩度对比的圆点花纹加上镜子,大量包覆各种物体的表面,如墙壁、地板、画布、家里会出现的物品(还有裸体的助理)。她自己的打扮往往也与作品有很高的同质性,并以短上衣和非常强烈的眼影妆闻名。草间曾说明这些视觉特色都来自于她的幻觉,她认为这些点组成了一面无限大的补捉网(Infinity nets),代表了她的生命。

The repeating or restructuring elements

Kusama has said that these visual features are derived from the illusion of her. She said when she grew up watching when items have been produces hallucinations, feeling light-emitting object is surrounded by blurred. I began to paint and draw a number of intensive small dots, which is based on the start of things to imagine. One day she watched the chair seat red tablecloth on the texture, color, and began looking around me is still the same texture, from the windows, walls and ceilings to every corner of the room, to my body. Looking for was the process, feel that they have been gradually eroded, fall from the sky, time and space not stop spinning, self-change negligible. Just in that instant, I realized that this is not just an illusion, but also the existence of a real life, I was terrified that the illusion of reality, and my red table cloths and above texture produced a strong fear of ... ... I Duolu fled, steps are scattered at my feet, I fell off the steps, hands and ankles were falls in; earth 10000 is a non-dot, which is the basic element, the earth is 10 million among a bullet, which of course includes my body. Thus, not only the mind, body and thus, became a part of creation.She considered these points build up an infinity nets.#p#分页标题#e#
Margaux, would you describe your work for us?
My Plastic Body Series is art jewelry made with sterling silver, Barbie dolls and epoxy resin. It is an examination and celebration of my own, as well as our culture’s, relationship with Barbie.

What kind of training did you have which helped you achieve your current level of artistry?
I was first introduced to jewelry making in my high school (Lake George, NY) which was and still is, very fortunate to offer jewelry courses to its students. I’ve been a studio jeweler for the past six years since graduating college (The Maryland Institute College of Art, Baltimore, MD May 2001) I was a General Fine Arts major and took a variety of courses in various mediums until I decided to concentrate on jewelry. For me jewelry was a way of getting art off the wall and on to the body so it could be shared, experienced and quite literally felt.
After college I took an epoxy resin workshop with art jeweler Susan Kasson Sloan at Haystack Mountain School of Crafts that forever changed the techniques I utilize in my metalwork and has enabled all sorts of exploration with color.
While it is my fine art background that has given me the foundation necessary for conceptual exploration in my jewelry work, it is personal experience (i.e.: my childhood spent obsessed with Barbie and her miniature world) that I credit for the success of this series. Barbie was immensely important in fueling my creative life as a child, not to mention developing my nimble hands and dexterity, skills imperative to the art of jewelry making. I love that what I adored as a child has become the focus of my career as an adult.
How did you first get the idea to make jewelry out of Barbie dolls?
Barbie made her debut in my artwork in high school. I once did a project where I took a bunch of Barbie dolls and delicately painted on their plastic bodies, transforming each of them to look like something else. One was made into a carrot, another a zebra, etc. I even painted one with a suit and tie, a beard and a moustache to look like a man. Later in college I did a series of drawings: self-portraits of myself holding Barbie dolls, balancing her on my head, sitting her on my shoulder, in a sense wearing her. I was interested in combining alternative materials and/or found objects into my metalwork so it was really only a matter of time before she became a part of my jewelry.
Jewelry seemed the best form for my art in exploring the subjects I was interested in. It made sense to address issues involving women and the body through jewelry, (a form of adornment predominantly associated with females) using Barbie, the ultimate female icon. The queen of accessorizing became the accessory!

What is your creative process like? How do you go about designing a piece?
Sometimes there’s a storyline to my pieces and I’ll have a particular idea I wish to explore (depending on the doll parts being used) and that will serve as the concept that shapes the piece. Other times it’s purely about design and arranging shapes and patterns within multiple elements. And sometimes it’s both, where I start out with a pattern or design in mind and by the end a concept has evolved. My design process varies a lot from piece to piece.#p#分页标题#e#
I usually tend to work in smaller time segments throughout the week but aim for at least 15-20 studio hours total per week. The business end of my jewelry ends up requiring a lot more time away from my studio than I ever imagined it would: spending time on the computer with emails, my website, blog, etc.
I also currently have part-time outside employment as well to help make ends meet. Unfortunately at this point in my career it’s a necessity but I’m confident that it won’t always be. That’s what I’m working towards: successfully making a living off my art!
Is there a tool or material that you can’t imagine living without?
Barbie and Ken!
What inspires you to create?
Humans are especially what inspire me to create. Bodies. Faces. Popular culture. Barbie. And other artists and art jewelers who make fabulous work. I’m drawn to art that employs multiples of something, patterns, work that plays with our sense of scale and art made out of found, unexpected or unusual materials.
What inspires you to keep going when the work gets frustrating or tough?
The people who appreciate and support my work are what keep me going through the tough times. It’s important to have a support system. I’m very fortunate to have a few amazingly supportive artist friends. Also, when I get emails from people saying how much they love my jewelry or share stories of their Barbie experiences, I feel such a sense of accomplishment and it reminds me of what I love about art: it’s ability to connect on a personal level.
One of the biggest joys for me has been the way others receive my jewelry. It continues to amaze me the range of responses I get regarding what I do with Barbie. Some people respond to its humor and wit and think it’s pure fun, or it feeds a sense of nostalgia for them. Others weigh in on the feminist edge and relate to its statement. Some are creeped out and think it’s dark and disturbing to see “body parts” cut up. Others think it’s just simply bizarre. I love that everyone brings his or her own baggage and reaction to the work, indicative of their own relationship with, or feelings about, the iconic plastic princess as well as what defines “wearable jewelry.” One of my biggest goals has been to create art that people can relate to. I believe I’ve been successful with this.

What is your best piece of advice for those who would like to rise in their level of artistry?
Pay attention to your “voice.” Everyone has one that is uniquely their own and it’s hard to uncover at times. (Especially with the influence of teachers, mentors, fellow artists, friends, or family who sometimes offer resistance or persuade you away from your own true voice or vision.) Strive to unearth not only your personal strengths and talents but also that which gives you a deep sense of satisfaction and you will find yourself excelling naturally.
Also, and this is hugely important, surround yourself with positive people: those who support and encourage you to do what you love. It can be painful and difficult to weed out those who bring you down, but sometimes it’s crucial to your personal and professional growth.#p#分页标题#e#
Got it yet? Yes, it’s a boob pendant. A pendant made from boobs. Plastic boobs. Barbie boobs! Aaaand we think we may just have answered the question from the headline there, but you, of course, may find these super-cute, in which case you’ll want to know that the boob pendant is the creation of Margaux Lange , who sells her work on Etsy, and that there’s lots more where that came from. More pics under the jump, visit Margaux’s store here for even more.
I enjoy the funny juxtaposition of wearing the body, on the body. Barbie has become the accessory instead of being accessorized. I take pleasure in the contrast and contradiction of something mass-produced being transformed and revealed as a unique, handmade, wearable piece of art.
Margaux Lange
I found Margaux’s work online a while ago – and was delighted to come across her new and updated website the other day. What I especially like about her work is it’s sense of playfulness, it’s ingenuity. I love that Margaux is using something iconic and turning it on its head…adding to and exploring the cult of Barbie, issues of recycling and adornment. I also really enjoyed seeing an insight into her process {and a peek into her work environment – as a jeweller myself, this is always interesting!} via her blog…
I have always personally loved Barbies, having played with them all the time as a child – making my own clothes and hats for them, giving them hair-cuts {eek}…and so found it really interesting at art school when they were discussed in such depth during lectures and debates for their design status.
Many people now see Barbie as a bad role-model for girls – but this was something I absolutely did not identify with, and do not subscribe to the idea that this iconic doll influences young childrens ideal of the perfect woman {I never wanted to look like Barbie}. I see her as an excellent outlet for creativity and roleplay…something essential in a childs development.
I am so glad, as an adult, to see these positive notions continuing – in such a wonderful and beautifully executed way – through Margaux’s jewellery.
I can’t wait to see the collection evolve!

The link with popular or fashion industry

香港的Yvonne Wang认为商业化的艺术,尤其是大规模生产的商品让她反感。村上隆的作品反映出在金钱社会里可达到的最高真实性消费。
Has been called “the Japanese Andy Warhol” Takashi Murakami, he is good at breaking the art and commerce, the high culture, popular culture and the barriers between the sub-culture. Takashi Murakami's work not only promote the Japanese comic and popular culture of art, but also breaks the Eastern and Western’s own aesthetic standards. Therefore his works are also very popular in the West.

43-year-old Takashi Murakami is one of the most popular Japanese artists, also he is one of the most internationally well-known Japanese artists. His works have not only got the universal ability and market ability, but also have got provocative temperament. Takashi's works generally regarded as Japan's manga culture of extreme performance, not only in quantity expansion of comic reading culture, but also qualitatively demonstrated ability to consummate style. In the art market, art market, the single open a new authority than Andy Warhol Takashi Murakami art foreseen the commercial potential of, and farther than modern art theorist Clement Greenberg on "The tacky (kitsch)> influence理解.
今年四十三岁的村上隆是日本最广受欢迎的艺术家,也是日本艺术家中最具国际知名度者。他的作品不但具有普遍性和市场性,也有挑衅气质。村上隆的作品算是日本普遍的漫画文化之极至表现,不但在量上扩充漫画阅读文化,也在质上表现出精湛的造型能力。在艺术的市场化、市场的艺术化上独开新局,村上隆超过安迪沃荷所预见的艺术的商业潜力,更远超过现代艺术理论家Clement Greenberg对<俗气(kitsch)>影响力的理解。

Takashi Murakami has a PhD graduate of the University of Tokyo National University of Fine Arts and Music, with traditional painting techniques. His doctoral thesis rather nothingness temperament: "the meaning of meaningless』. " But it seems from his artistic creations to read out the meaning of vague. Takashi Murakami is now shuttling between New York, Tokyo, Paris, engaged in creation and display, exhibition intensive curatorial itself in 2001, the California "super-flat (Superflat)> curatorial him much attention. The exhibition will not only let the world know the characteristics of Japanese comics culture, but also with the European art tradition Perspective confrontation.
His works not only in many of the world famous museums on display, in the business, he is also a hot figure, had achieved impressive results. Not only in New York, Christie auction sold for 567 thousand U.S. dollars at the sky-high price of the blonde beauty Ko2 cartoon Miss (glass fiber, high-about 2 meters); let the world women are also frequently sought after LV cooperate with him, decorative has his designs for LV handbags, each priced as high as 5,000 U.S. dollars. Mr. DOB's image has also been printed on T-shirts and balloons on a large number of sale has become popular among youths, the tide of popular products ...

★ If Andy Warhol was to commodity into an art, that Takashi Murakami is to goods and works of art should be the zone between the interrupted.
他的作品不僅在全世界許多著名博物館中展出,在商業上他也是個炙手可熱的人物,曾取得了令人驚歎的業績。不僅有曾在紐約克利斯蒂拍賣會上拍出了56.7萬美 元天價的金髮卡通美女Ko2小姐(玻璃纖維製,高約2米 );讓全世界女性追捧的LV也頻頻與他合作,裝飾有他設計圖案的LV手袋,每只售價高達5000美元。Mr. DOB的形象也曾被印在T恤衫和氣球上大量發售,成為深受年輕人喜愛的潮流品…

Takashi Murakami's works can be said to be "size nothing, Yi Shi IKEA, inside and outside decent" suit made of household products, toys, decoration, also suitable for amplification into public art. Takashi Murakami art can be made into a variety of products, suitable for handheld and appreciation to the small form doll, mouth-watering bright color, without modesty, show off lovely, thorough bright innocent big eyes, is enough to put it down to the Takashi Murakami products.村上隆的作品可说是「尺寸不拘、宜室宜家、里外得体」,既适合做成家居产品、玩具、装饰,也适合放大成公共艺术。村上隆的艺术能做成多种产品,适合掌上玩赏的小造型玩偶、令人垂涎的鲜艳配色、毫不谦虚地卖弄可爱,透彻明亮的无辜大眼,足以让人对村上隆产品爱不释手。
And fashion, to let the marketability of Takashi Murakami to new heights. 2002 Louis Vuitton designer Marc Jacobs for spring designed to invite Takashi Murakami handbags, shoes and other accessories. Takashi Murakami to the main point of the law of small flowers, on the one hand into the rules of exquisite Japanese style Patterns, on the one hand to create a sweet temperament, with spending power to attract young girls. LV spring 2003, and the simultaneous advent of Takashi Murakami exhibition, but also received complementary effect. The combination of art, fashion, brand name and examples of idols, even if the "artistic autonomy" of the defenders candidly admit defeat.
和时尚的合作,让村上隆的市场性更上层楼。2002年Louis Vuitton 的设计师Marc Jacobs邀请村上隆为春季设计皮包、鞋子等配件。村上隆以规律的细花点为主,一方面融入日本风味的规则精致的图纹,一方面创造甜美气质,吸引具消费实力的年轻女孩。2003年LV的春装和村上隆的展览同步问世,更收相得益彰之效。这些结合艺术、时尚、名牌与偶像的例子,即使「艺术自主」的捍卫者都甘拜下风。#p#分页标题#e#
Takashi Murakami is not just bent on the pursuit of commercial artist, he just does not exclude the market. Takashi Murakami, however, on social issues, especially for the many phenomena of Japanese society are critical to maintain the position. Although his style seems to be the comic world of convergence with the real world, let's eyes and ears of Chen submerged in superficial, smooth style of a romantic, but his aesthetic from social observation in mind. From the Japanese general sense of powerlessness and a sub-culture observations, Takashi Murakami from his interest groups - otaku (otaku) - those who would isolate itself from the network world, the exchange of fantasies of young people. Takashi Murakami, this has been discriminated against ethnic groups in Japanese society dreamed up by the image, including those filled with passion to do the specific shape of illusions in the hope that his art can comfort those eccentric people. Online and isolated, was comforted by the consumer, idol worship, Takashi Murakami grasp the truth of modern life, nature can also operate their own clever marketing, this is Takashi Murakami to successfully trace and follow-up art and commercial barriers between the clear key.
  村上隆自己也说过,“我在寻找一种介乎艺术与娱乐之间的交集,在欧美学到的关于艺术场景里的运作,如何在代表精英文化的美术馆,用大众文化的方式吸引到更多的受众。将日本流行文化和次文化直接摆到所谓高级艺术(high art)的范畴中来探讨,不只是重视这股力量,其实也在试图探测着大众艺术与纯艺术之间的界线,以及在艺术与商业之间寻找的新的融合可能性。更重要的是,观众喜欢。”#p#分页标题#e#
  他十分坦率::“...日本文化,你知道,自从二次大战之后就是模仿美国的东西、欧洲的东西和西方文化,不是吗?每回,他们就制造一个膺品,膺品,膺品,膺品,膺品,膺品...膺品的历史,到现在,它变成了原创。我想这就是一种偶像文化。在美国,他们还在找真正有天份的人,像鲍伯˙迪伦(Bob Dylan)或类似的人。我虽不懂音乐场景,但是我们不需要找真正有天份的人,我们只要炒作伪天份,那就成了。”

村上隆有一个工厂,叫做“Kaikai Kiki”,有120名正式员工和其他100名自由职业者,在纽约和东京都开设有办事处,工厂不仅仅生产绘画、雕塑、动画电影,与知名公司进行设计合作,并且经营毛巾、钱包、毛绒玩具等一系列相关产品的生产销售活动。
本展共展出84件版畫作品,除了最為人熟知的LV「SUPER LAT Monogram」、「櫻桃」、「小花朵」系列之外,還有充滿禪意的新作「達摩」等。
日本画家高野绫,出身自村上隆搞的“SUPERFLAT”活动,97年就加入其负责的艺术组织“KAIKAI KIKI”。2000年就推出自己的第一本画集《HOT BANANA FUDGE》。高野绫在村上隆的护航下发展十分顺利。
高野绫的画风非常迷幻,而且大玩BODY、SEX,但画内的女性都是“平胸女性”,十分特别。在日本大受欢迎,在2003年更为英国乐团FEEDER的最新大碟《COMFORT IN SOUND》设计封套。











British Council --- Teaching methods and study support
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Ling Wu (2008) PhD Candidate, Institute of Education, University of Warwick, Coventry,
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McCulloch•G(2005) The Routledgefalmer Reader in History of Education, MPG Books Ltd,
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