Suzette's blog

Memorial Capsule: reflection on my first semester.

                                                                                           
                                                                                     
“I don't have space to enter into the examples or the history of this, so I'm left with having to make the bold statement that culture is extinct. “- Vivienne Westwood.

I can’t think of a more appropriate point to start reflecting than from than these words by Westwood. It has in many ways been the case of too fast to live too young to die during this semester. To be quite honest the fast past live has never intimidated me. There have been lots to do and think about yes, but I have again found myself captivated by the whimsy of design and making.

Culture; and with that heritage has followed in my shadows since I moved to New Zealand two years ago. Being from South Africa; a country bombarded by 11 different cultures, tastes and traditions  to an island buzzing with thousands of overseas visitors. I have been seeking my identity through the making process, finding different objects as the microphones to my solo karaoke performance.

It is though making; handling and exploring objects that I have come to love their origins and symbolic remembrance. While I was researching aspects of cultural interest, I became absorbed by the immaculate craftsmanship of the ancient makers, truly pushing boundaries but never hastening along the end result; by doing this leaving a legacy for future generations. It is this culture I believe Westwood is referencing as extinct. We have become a generation of promptness, instantness you could say, as our world has become instant we have come to expect instant art and design.

In this show; I find it satirical how I have chosen a fashion designer who pushes the envelope in instant fashion (punk), combining it with well-crafted garments and elegant attention to detail. It is this combination, as well as exploration of the objects; I wish to portray to my audience: a world where speed and labour intensive craftsmanship can exist in harmony.

In progression from this work I will follow a quote be Westwood as an incentive to keep pushing boundaries and growing my crafting abilities.

 

‘I think some people would love to be able to make the clothes I make - and of course, I do influence them, but they keep simplifying, and minimalism doesn't quite work. ‘- Vivienne Westwood

Exhibition Review

The Unrequited Gaze in Portraiture- collection of Artist works: 6-30 October 2010      - John Leech Gallery, Cnr Kitchener and Wellesley Streets, Auckland Central.

 

From top middle to bottom left and right:

Antoine Chazal “chefsdelanouvellezelande”1826 hand coloured lithograph, 250x340mm

Sofia Tekela- Smith Untitled “sofia”, 2003 edition 10 Fiberglass and acrylic, 405x 355mm

Martin Ball “Carey’s bay 2000 III” , 2008 Oil on linen, 1220x1220mm

 

The Era of Self-Just walking down the street to get to the immaculate John Leech Gallery, I often stop to check my reflection in shop windows; car mirrors and yes even in on walking pedestrian’s tinted sunglasses.  It is true to say that we live in an era were one self has become the star attraction. We have even gone as far as making global altars for ourselves. Although it can be amusing changing your outer persona as often as your sheets, I do long for the time where people were admired from behind the artist eyes.

As you entire through the golden handle gates of heaven, you are welcomed by the calm, yet perfectly conditioned, air of magical selfless art. Minimal at a first glance, but as you move from right to left; forwards and backwards in the stark white square you become absorbed by it all.

The collection of work; as well as the artists is as diverse as humankind itself. Opening the show is a marvellous sketch work from non-other than Frances Hodgkins. But be warned you will find it hard to allow yourself quality time with the work, without jumping to modern day photo- realism of Martin Ball. A true showstopper in mere size as this will draw in fanatics from the street. Moving back from this you will find a very well edited evolution in modern portraiture, never really losing focus on the Ball piece.

It is the simple bold and elegant following work; by Sofia Tekela- Smith I find so appropriate, as it sets the contemporary mood for what treasures await.

Along the left side wall hang framed nuggets of gold. These pieces do truly emphasize the origins of New Zealand. You are welcomed into this world, yet again a sketch, by George Woods and works by the likes of eighteenth century French master lithograph artists; Antione Chezal and Louies August de Saison. They portray the events and people that influenced thousands, truly adding a unique take on New Zealand’s art of portraiture.

These works or miniature collections leave you, like a good dessert wanting more. Walking out the gallery doors, I felt refreshed by the fact of merely existing in an unrequited space for a while, a space where you were not the most important.

 It is the immaculate thought behind the show, the delicate arrangements of such a fast variety that caught my attention. Every piece bounces back and forth, never quite making painted eye contact, with complementing techniques no matter how diverse in media or century. –A true must see.

http://www.johnleechgallery.co.nz.

http://www.wikipedia.org

Conceptule Science Fiction Time line.

“The First Galactic Empire was falling. It had been decaying and breaking down for centuries and only one man fully realized that fact. He was Hari Seldon, the last great scientist of the First Empire, and it was he who preferred psychohistory- the science of human behaviour reduced to mathematical equations.” Prologue- Foundation’s Edge, Isaac Asimov.

This first section of Science Fiction literature; was the Welcome mat to my latest fascination with all things futuristic. The utopia I had always imagined as a child; just much cooler, where dreamers and the scientist work so closely alongside each other they crafted the ideal future.

The concept of an idealistic future is really as old as modern thinking itself.  As the snow ball of the ultramodern rolled through the 1800, it absorbed almost the entire Optimistic generation, even inspiring writings like Mary Shelley's Frankenstein. Futuristic dreaming took flight in the mid-1800, when the first fully functioning submarine made existing under water possible. With the flood of new magical and scientific innovations into everyday society, people became more interested in the literature that explored these technologies.

The turn of the century and dawn of World War 1 brought with it a wave of pessimism. The once loved scientific inventions were now cursed and resented as it enabled mass devastation. Literature changed from blooming futuristic dreams to the disadvantage technology could bring. Works like War of the Worlds by H.G Wells is said to have terrified radio listeners, causing them to scream with terror and seek a save hiding place. The realistic radio broadcast told tails of alien invaders attacking earth. As more similar works appeared, society started fearing the dictation of advanced technology on the human race.

        

It was only in the 1920 when people confidently speculated on fiction and fantasy. Science Fiction novels now captured its reader’s imaginations with tales of signs and wonders.  It was this sense of wonder that lead to the publication of the first real science fiction magazine, Amazing Stories. The magazine exploited new possibilities of robots; alternate worlds; faster and lighter travel; exploring other galaxies and alien encounters.

As the speculation of a new future captivated and motivated Science fiction readers, it also laid the foundation for the world’s first moving image of a technological future .1927’s Metropolises was an extremely successful film and its art-deco inspired aesthetic became the guiding of the Science fiction pulps for some time.

It also inspired the Space opera era of the thirties and forties, these mainly revolved around adventures in outer space; placing the emphasis on action rather than science.

 

 Science Fiction, just like technology, rapidlychanges, sculpting a new escape, a better dream for the future than tomorrow. With the invention if the atom and hydrogen bombs; transistors; compact electric devices; pocket sized radios; jet planes and  the television the 50’s boomed socially with usable technologies. These latest must have ‘toys’ propelled Sci Fi into commercialized heaven. 

     


   

As the world was now competing in a foot race to see how futuristic the future would be, amazing goals where archived, past Science fiction dreams that seem impossible now were possible. The 1961 moon landing would forever fuel these, once ultimate fantasy dreams of life in outer space.  But other seemingly unrelated social scenes influenced the New wave period, excessive drug use and the nuclear bomb( predicted in a 1914 Science fiction novel) altered  the wonder of science and warped focus onto sex and violence. Because Sci Fi was so popular it inspired numerous artist, but most recognisable of all is surely the influential change in fashion.

 

Science fiction is a type of fiction that is based on either actual or imagined discoveries of science. It is distinguished from other tales of fantasy or the supernatural because science fiction is somewhat grounded in science and has philosophical and sociological implications.
-Fracis R. Hart

 

 

 

Conceptule Science Fiction Time line.

The relationship between man and technology always seem to raise doubts. So during the 1970’s man again questioned if it could co-exist with technology and nature moving towards surrealism, psychological drama and the mainstream currents.

  

Although science fiction seemed more vague during the 70’s. Popular television shows like Phoenix five, and movies like The Planet of the Apes boomed with the latest futuristic gadgets and inventions. Technology overflowing and even becoming massively popular with kids toys and comic books.

  Although this video was only recently made I like how is encompasses so many 70’s Sci Fi aesthetics.

 

 

 

Coco Electrik - Fire & Ice from TÉAR on Vimeo.

By the early 1980s, the New Wave had faded out as an important presence in the science fiction landscape. Socially new personal computing technology became an integral part of life; science fiction writers felt the urge to make statements about its influence on the cultural and political landscape, and the Cyber punk Sci Fi era was born.

 

Fininding traces of Science fiction in almoust all asspects of the 80's.

 

 

During the nineties, with fast increasing daily use of technology and the mass popularity of Science fiction, readers and writers drifted from space travel and robots to artificial intelligence and technologies like telekinetic and meta- physics.

  

 

 With the advancement of technology and its daily use, more movies and tv shows using  futuristic concepts ;become better at portraying a more realist outcome than ever before.

 

 

 

 

As a brief summery to all the new things I have learnt through this intellectual journey. I have come to understanding that there are many events that help shape science fiction, and people’s attitude towards it. As humans we are curious about the unknown, and what new things the future holds. The mysteries of our time and worlds we can now creatively understand a bit about the society we live in.

 I will sign off with a sincere appreciation for the art of Science fiction, in the dream to one day completely understand and potentially come to love it.

Bibliography:

• The Flight of the antipode, Unknown, 2007/03 http://bibliodyssey.blogspot.com/2007/03/flight-to-antipode.
• BACK TO THE RETRO FUTURE: PART 1 Yesteryear’s Movies of Tomorrow, Will “The Thrill” Viharo,2008/07/06 http://www.retroradar.com/classic-sci-fi-films-part-one/

Space Rockets: To punch out and assemble (1958) John Sisson, 2009/02/26 http://dreamsofspace.blogspot.com/2009_02_01_archive.html

• http://en.wikipedia.org/wiki/History_of_science_fiction
• “Science Fiction a generation that changed the world”, unknown, 1999 http://www.princessleia.com/Scifi.php
• http://en.wikipedia.org/wiki/Utopia
• 500 Great Comic Action Heroes.-Mikes Conroy, 2002. Chrysalis Impact Publications, London.
• Fantasy Art of the Millennium- The best in fantasy and SF art world wide-Dick Jude, 1999. Voyager an imprent of Horper Collins Publications, London.

·        

Rational thinking on Modernity.

Identify a designer / maker / architect / artist from the avant-garde modernist period (1905-1930) and examine a specific piece of work that encapsulated or expresses the ambitions (or programme) of modernity.       

                                                            
    


      

Man Ray: Ryograph 1922. Gelatine silver print, 23.9 x 17.8 cm (9 7/16 x 7 in.)

 

The artist and his work I have chosen to discuss does not necessarily jump to mind, when asked to write about creative s dealing with social and moral issues surrounding modernity. Man Ray epitomized the avant-garde to me, during the given time frame. Although better known for his surrealist work, it is hard not to credit him as modernist.

Dadaism was in its essence an artistic; anarchistic outcry against tradition as well as social and moral values. Although very short lived, it was very successful in developing new methods of collage, photomontage and the ready-mades. It was this rebel attitude of embracing only the newly made that attracted Emmanuel Radnitzky (Man Ray).

During the same time modern thickeners, writers, makers and designers were smitten with the concept of fully emerging into an industrialised world. A world where “traditional” forms of art, architecture, literature, social organisation and political conditions would surpass the old. It is with all this said that it seems fitting to quote form the book - Challenging Modernity; Dada between modern and post-modern.

  -“Dada, then may not be able to escape its roots in modernity but none the less there is a decidedly a strong anticipation of what will come to be called post modernism.”-

I think that this chosen artwork could not be more fitting as example of the modernist roots in Dadaism. In 1922 Man Ray had moved for New York to Paris, where he was fully emerged in the Dada community. It was here were he started to experiment with the photogram, and develop his ‘Rayograph’. Quite genially without using a camera he places the objects on a photosensitive sheet of paper and exposes it to light, or “painting with light” as he refers to this process.

The result of a Rayograph being abstract, merely catching the bulk silhouette of the objects, with hints of the representational , revealed a new way of ‘seeing’. Using affordable objects like thumbtacks, a coil of wire and other circular found objects, the work celebrates the modernist ideal of the affordable, as well as the ready-made; collage astatic of Dadaism.

To me the process, although it may seem primitive in some aspects, deals with the wonder of the machine made. The geometric shapes and flat colours radiate as they catch the eye, simply being as volumes and mass, undeniably modernist. The viewer is pulled in by the target like collage of interfacing circles and sharp pointed triangle. Although the quintessential philosophy of Dadaism and Modernism was to disregard Enlightenment thinking, it is still lingering in the structural work of these artworks.

Not quite as serious as the Modernists, Man Ray had a playful approach to making “Less is more” statements about the social and political stance of his current world. The irrational approach to art marking has produced a rational result of clean lines and uncomplicated shapes. Just as metal, steel and glass were the paintbrushes of modernist architects; Man Ray has used the objects in a hard industrial manner, letting form speak for its function, no frills or added fluffs just pure rationality.

I do know that it is not quite possible to judge an artist on merely one piece of art, and there are more layers to the artist himself. To me; this work exemplifies modernity, but it also leaves a breadcrumb trail of thoughts for other ideas of the avant-garde, surrealism and post modernism.

Bibliography:

• “Collection Database”- http://www.metmuseum.org/works_of_art/collection_database nd
• “Man Ray: 1890 – 1976”- http://www.dailyartfixx.com/tag/surrealism 27/08/10
•  “Modernism” - Wikipedia, the free encyclopaedia http://en.wikipedia.org/wiki/Modernism.11/09/10
• Francis M. Naumani, 1994, Harry N.Abrams, Incorporated, New York. A Times Mirror company. “New York Dada 1915-23”
• Mark A.  Pegurum, 2000, Berghin Books. “Challenging Modernity; Dada between modern and post-modern
• Personal notes in Modernity PIC2 class.

If your more interested in Man Ray look at this clip:

 

 

 

 

 

Bow to the Queen of Punk



The rebel of the fashion world , the naughty kid with drawing colourful crayon pictures on the wall. The teenager secretly smoking in the back garden. The punk with the bleach blond spiky hair, wearing leopard print leather minis. Vivienne Westwood. Her story a true Cinderella fairytale, raised during the industrial revolution in Britain to the riches of the bourgeois.

 

  

 

In 1971 after the scandalous and rebellious partnership of Westwood and melcome McLaren, they moved from the backroom selling 50s rock memorabilia to owning the whole shop. They called it “Let it Rock” and sold unused 50’s nick nacks and newly made Teddy boy suits which Vivienne made in the back, by taking old ones apart in order to copy them.

 

 

In 1972 the shop was renamed To too fast to live to young to die, now selling leather jackets , chains, zips and authentic and re-jigged bicker gear. An extreme change in 1974 saw giant pink lettering spelling SEX .and they were now selling rubber, PVC and kinky wear.

 

 

McLaren was now in America managing the New York Dolls who he had met as customers in the shop. As the Dolls faded McLaren returned to Westwood . Her lastes design was n anarchy t-shirt with propagandistic slogans and marximist images. Combined with McLaren's love for Dada art he added some chains, bondage , and safety pins and so the punk style was born.

 

 

As punk became commercialized and the famously Westwood styled Sex pistols collapsed ,Vivienne had nothing more to do with punk. Instead she turned to technical research, ranging from native Americans to outcasts. Launching a new collection, featuring stunning colours, textures and new styles. they called it the Romantic s of the High seas.

 

 

Westwood's second collection  known as the Buffalo girls in 1982 saw her opening a another shop in London's fashionable west end, with a 3d map of Africa called Nostalgia of mud. The name a slam of middle class longing for the seedy chic. Westwood's cloths now consisted of roughs, tangled hair and bras worn on the outside .

 

 

Each of Vivienne's collections has a title and a concept. It is this intellectual quality that’s she brings to her work that sets her apart from other designers. The visual language build up from studding mostly 17 the century paintings. What is so incredible is her suggesting of a romance of a previous age, by superimposing details from those fashion into a standard system of design today.

 

 

From Westwood's embellished larger than life Café collection which featured an extravagance of rustling silk gowns .Empowering its wearing by its seer volume. These were the embodiment of the swagger paintings by Van Dyk and her avant garde take on the wedding dress to which Westwood has embellished and adorned the male and the female figure.

 

In her 2008 collection it is clear the Westwood is closer to interpreting current world crises than any other designer. This collection deals with Celtic tribal wear and the global warming crisis .With the enlistment of 7 and 8 year old s form Nottingham, given the task to create uniforms for a society of jungle dwelling eco warriors , they hand painted most pieces.

 

 

As divers as Westwood is on the catwalks, she has again juxtaposed herself by collaborating with the not so rebellious Co and Son to create a range of wallpapers from her most recognised collections. Westwood has also put her rebellion stamp on collaborations with Maltin's, furniture design and Thomas Goode ceramics.

 

 

 

What I found most appealing about the Dame of Punk rock is her modern, revolutionary take in the ancient tradition of body adornment. Just as the exotic as the African toe rings, embodies cultural heritage , so to does a pair of Westwood spiked heals. Proclaiming statements about the time , but leaving a heritage to build on in future.

 

 

To me Vivienne is a women that understand form .She designs through a women's eyes, but she seems to see them through a mans to . She has given us a rare look into the artistic design process, but also most importantly given fashion a new language and vocabulary.

The jazz age of Art Deco

A Flapper dress, worn by a flapper girl. A flapper girl was defined by her dress. The dress that had a shortened hemline, a shapeless form; a low waist and sleeveless top. This streamlined embellished dress, was ironically the starting point of modern middle class fashion.

This dress was made in France. The Parisian influence is unmissible, as Paris was the stages were almost all art battles were fought. This is the same place Picasso turned the art world on its head with cubism. The flapper dress made this its stage, to states it intentions toward vintage constrained fashion.

The delicate silk embroided, layered fabric was infamous amongst flapper dress designers. It is gently draped and sown by the craftsmanship of its designer. High fashion until the twenties had been for upper class women; because of the construction of the flapper dress it was easier to make at home. And so flapper fashion Buttrik home dress making patterns were born.

The dress was designed and made by pioneering couturier Paul Poiret. Pioret revolutionised dress design by freeing the female form from its constructing and painful, boned corset. This glitzy flapper dress was made for a golden film star Flapper. Someone who was glamorously flamboyant, with shorter hair, adventurous and more spirituous

 

After the First World War more women were experiencing a modern high passed life; were all the old was disregarded, and the new, modern machine was celebrated. Mass communication and mass traveling by car, train, ship and plain, now portraying a modern man and women.

The new modern social butterfly of the 20’s, found themselves swing dancing to new dances like the Charleston, in jazz clubs till the sun come up. Drinking and smoking heavily in public. The Flapper displayed a carefree disregard for authority and morality. The used slang drove fast cars; and freely took lovers and jobs.

The silent lavish budget of the Golden age of film was starting to fade in the lime light. Instead it made space for more expressionistic films. These films brought willingness to look at the future, new ideas and artistic styles. They dealt with madness, insanity and betrayal.

The modern heroine did not merely emerge after World War 1. The inspiration dates back to 1890, when artist Charles Dana Gibson depicted independent women, who remained attractive. The

Gibson Girls as they were known had shorter hair, more adventures spirits. They also took on more masculine rolls like attending college.

As the Flapper become less constrained with the norms so too did the designers. The discovery of King Tothkans tomb in Egypt, lead to mass stylised Egyptian figures, painted and embroidered and stylized on fabric and jewellery. The geometric patterns, lavish layers of gold, combined with bright vivid colours of yellows, turquoise and reds.

 

Tribal African arts have captivated the imaginations of westerners ever since pre World War1. Artist like Picasso drew inspiration from the bold shapes and streamlined figures. African tribal art patterns and designs can be seen everywhere during the Art Deco phase. The use of straight lines and geometric patterns elevate ideas of modernist Europe.

No painter is more iconoclastic of the Art Deco style than Tamara De Lempica. Using themes of the sophisticated modern women. The use of strong lines and sharp angles in her stylised female figurers portray the Cubist influence. Her portraits are charged with sensuality, energy and sophistication.

     

After the first Russian ballet by Sergei Diaghilev opened in Paris, people and designers were   captivated by the degree of fantasy and elegance. Known for the mixed oriental and western costume designs by Leon Bakst and Alexander Behois. The costumes featured Fauve like colours of orange, blues, chromes, yellows and hot pinks.

 

The stylised stream lined modern women who dared to cut the hem of her high waisted dress had rapidly broken women’s fashion taboos. With Europe being the showground of culture, so to have the women emphasised all these modern avenues. With the ultimate goal to be more lavish and exotic than ever before.

  

 

For the elegant Parisian and New Yorker of the 1920s and 30’s, fashion was a vital part of their lives. Fashion always has to do with snobbishness and with Art Deco this was practically possible. At the end of the era it was no longer unheard of women wearing men’s cloths and smoking and drinking in public.

To me the Flapper dress stands as a symbol, a symbol of the modern streamlined lavishly, glamorous ,exotic women. A woman who is not afraid to question the norm and embrace different cultural designs. I think that these elements of the Flapper, and the avant-garde boldness of Art Deco, will elevate my own jewellery design practice.