Collection: Part 2

Information File

by Rianne

Project Brief: #1 The Self-Portrait Brief

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Project Brief: #1 The Self-Portrait

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Francesa Woodman

Steinhauer, J. (2012) Finding Francesca Woodman [Online] Available from: http://www.theparisreview.org/blog/2012/05/23/finding-francesca-woodman/

[Accessed June 4, 2015]

 

Alix suggested for me to research Francesca Woodman as part of my project, to be inspired by the way her photographs captures absence through investigating the properties of light and playing with framing, creating self portraits that communicate a sinister and eerie effect, which I had attempted to manifest with a camera flash in dark lighting and the mask prop. Her self portraits questions what happens when a nude woman is both the subject and the object of a work? Seeing her work makes me wonder how I could use the body and relate it to the space around it,  

Key themes:

Died young: committed suicide, jumping from a window when she was 22

  • unnaturalness of an early death gives us a sort of morbid thrill
  • attracted by the mystery of the unknown (and unknowable)
  • parts of us that seek fame and approval -for the dead, everything is fixed and frozen; there’s no more work and no more pressure to perform.
  • Output that they’ve left behind in the world will never change
  • seems to be that her suicide either makes her more interesting or more worthy of an exhibition

Central problem surrounding Woodman: her art and her life have become inextricably linked

  • can’t have the photos without the suicide -quite probably wouldn’t have had the suicide without the photos.

raised with a strong work ethic and the idea that art was “serious business,”

“You don’t go off and do hobbies on Sunday or something like that. You make art.” 

most frequent subject was her own body, most often nude

  • black and white, often in ruinous spaces: rooms with peeling wallpaper, crumbling paint, light streaming through uncovered windows
  • staged scenes with props: mirrors and gloves and eels and panes of glass
  • blurred her image so that she appeared like an active ghost/ an angel.

Technically, these photos are nudes and self-portraits, but they don’t feel much like either

  • Great irony in her nudes, photographs so much of her body, yet reveals so little
  • More like explorations—experiments in the art of photography, for which she used herself as a prop

 

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Francesca Woodman, Space2, 1976

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Francesca Woodman

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Project Brief: #2 Archway Life

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Project Brief: #2 Archway Life

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Gabriel Orozo, Yielding Stone, 1992

Gabriel Orozo, Yielding Stone, 1992

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Vito Acconci, Following Piece, 1969

Public and private

idea of somebody else/ something else leading you somewhere

spent afternoons stalking randomly chosen strangers through Manhattan streets

https://www.khanacademy.org/humanities/global-culture/conceptual-performance/a/vito-acconci-following-piece

http://www.frieze.com/issue/review/vito_acconci/

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Vito Acconci, Following Piece, 1969

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Vito Acconci, Following Piece, 1969

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Nam June Paik, Video Flag, 1985 - 1996

 7-by-12-foot bank of 70 monitors,

stars and stripes share air time with split-second news stills, rotating statues of liberty, endless runs of ones and zeros and a face that morphs through every U.S. president from Harry S. Truman to Bill Clinton.

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Nam June Paik, Video Flag, 1985 - 1996

Lenka Clayton, QQQQQ, 2003

An alphabetical version of President Bush's 2001 State of the Union Address

George W.Bush's infamous 'Axis of Evil' speech

The result is powerful: a mesmerising snapshot of the posturing, rhetoric and obsessions dominating American politics in the aftermath of 11 September.

 

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Lenka Clayton, QQQQQ, 2003: Excerpt (A - Because)

The Chinese Photobook - Exhibition at The Photographer’s Gallery

http://www.aperture.org/traveling-exhibitions/chinesephotobook/

Parr, Martin and WassinkLundgren. The Chinese Photobook. The Photographer’s Gallery.

 

What is a photo-book?

a book in which photographs make a significant contribution to the overall content

 

History of the photo-book

 

Personal Response:

I think it’s interesting to see the format of the photographs –the editor’s decisions of which photographs should go together to best tell the story

 

The chinese characters also allow for some very interesting typography

 

Being Chinese, I hear about political clashese that occur in mainland china often, and visually seeing so of the aggression Hong Kong people have against

Even writing my thoughts here now is a little unnatural, fearing the consequences that may possibly arise

 

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Naomi Vona

http://theawards.co/naomivona/

  • Although collage is not an innovative idea in the world of contemporary art, the magic of Vona’s work lies in its colors and composition, achieving the aesthetic appeal that hypnotizes us.
  • Her works combine different interests like photography, collages and video art. She says that every artwork is basically composed of three elements: her life background, her inspirations and subconscious, that is also the glue that puts all together
  • felt a need for creating
  • t school I spent lot of the time colouring books with fluo highlighters instead of studying, at home I always used to draw on diaries. It was very natural and fun, so I never stopped.
  • I’ve always loved to experiment and to find out new ways to express myself. I am really into photography, but I like to think about new ways to reinvent it. I think that collages are the best way to play and experiment with photography.
  • I like to create double meanings, play with words and I really love to quote songs, books or movies that I love. Lots of my artworks are titled and directly inspired by them.
  • Subconscious is the best part of my work process: I don’t have to think about, just do it, and everything comes out like a tsunami. It’s weird but exciting. I also like to see how vintage portraits “crush” against bright colors, contemporary materials and geometric forms, I find it very attractive. I don’t work at night I am sleepy! My mind works better in the early morning.
  • Failures are the best way to challenge myself. When I think to get wrong, I go on and I try to reinvent the work and solve the problem. I believe that failure it’s cool and interesting.

http://www.saatchiart.com/naomivona

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Naomi Vona, Fluo Conversations, Collage, 5.8 x 4.1 in

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Naomi Vona, Portrait Of A Young H.P. Lovecraft, Collage, 3.9 x 2.8 in

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Naomi Vona, Pointillisme, Collage, 7.1 x 5.2 in

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Naomi Vona, Preview, Collage, 7.4 x 4.8in

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Naomi Vona, Consequences, Collage, 4.4 x 2.6 in

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Michael DeSutter

Brooklyn based artist and graphic designer

http://www.michael-desutter.com/

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Merve Ozaslan

surrealist collages based on the relation between nature and the humanity.

 

http://honestlywtf.com/art/natural-act-by-merve-ozaslan/

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Mackenzie Reynolds

the idea of memories connected to classic family photos to create awesome conceptual collages.

"For what it's worth"

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Rocio Montoya

The visual artist and photographer

mixes in a clever way fashion shots and collages. The result is a delicate balance between bodies, faces and natural elements like flowers.

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Valeria Vacca

"Family Portrait"

The conceptual work is about anonymous identities and faded memories, where she worked directly on vintage amateur portraits using mixed techniques.

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Marie Godichaud

Tyler Spangler

 Graphic design, illustration and collage are mixed together for an explosive result.

 psychedelic portraits

http://tylerspangler.com/

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Tyler Spangler

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Tyler Spangler

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Tyler Spangler

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Ellen Gallagher

Irish and African American origins, which have shaped the texture and subject matter of her practice. Sources include the vaudeville tradition of black minstrels, science fiction and advertising targeted at African Americans.

http://www.tate.org.uk/art/artists/ellen-gallagher-9553

 

http://www.tate.org.uk/whats-on/tate-modern/exhibition/ellen-gallagher-axme

https://mocawomenontherise.wordpress.com/2013/06/18/studying-the-work-of-ellen-gallagher/

https://serenaferronart.wordpress.com/2014/11/17/art-21-ellen-gallagher/

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Ellen Gallagher, Deluxe, 2004–5

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Ellen Gallagher

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Photopolymer Printing

Tacita Dean

Mac Conner: A New York Life - Exhibition at House of Illustration

MacCauley "Mac" Conner, one of the defining illustrators of America's golden age of advertising

as a graphic design student, and an aspiring designer, the purpose of this visit was to better inform myself in work of previous practitioners of the same field. 

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Mac Conner, The Man Between, 1952

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Mac Conner, How Do You Love Me, 1950

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David Lemm

 

Mapping Eigg

Inspired by the story of an infamous lost map on the island , the project aimed to examine how maps are perceived and used on the island; exploring their significance and value as tools of way finding, instruments of organisation but also as material artifacts and repositories of meaning.

interested in exploring the idea that maps fundamentally aim to describe reality through simple abstract lines, forms and motifs.

idea of creating experimental maps which focus on memory and experience to describe a place and spatial relationships

aim to represent particular narratives from conversations, journeys and observations made during the residency – referencing locations, routes and elements of visible/invisible infrastructure.

Landmarks

Series exploring abstract aesthetics and subjective experience, with a focus on how we evaluate, navigate and represent the environments we inhabit.

aimed to examine the relationship we have with diagrammatic information, specifically maps, and our assumptions/understanding of truth based on these depictions of reality.

Interactive Event

Alongside the screen printed series

participants invited to create a version of my print Landmarks

following the route depicted in the print

using ink-stamps featuring symbols located along the trail to complete the piece

Each symbol represented a particular point of interest along the route

each print in this series is a depiction of that point on the route

http://www.davidlemm.co.uk/

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David Lemm, Mapping Eigg

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David Lemm, Mapping Eigg

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Devid Lemm, Landmarks

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The Isle of Eigg

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David Lemm, Alley-Dolia

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David Lemm, Dwam

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David Lemm, Landmarks Interactive Event

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Luke Evans & Josh Lake, Inside Out

swallowed squares of film, safely held in a plastic capsule,  for 'development' in their stomachs and intestines. Exposed only to internal fluids, the celluloid revealed its journey with a series of marks, scratches and bumps that, under an electron microscope, created the dramatic shapes captured in the images. The resulting images were revealed under the microscope, enlarged up to 500 times and then blown up to poster prints of 15,000 by 10,000 pixels.

grown up in the age of digital photography

"something fascinating about going back to film because of its texture, its thickness and the way it reacts to being touched."

explore the possibilities of 35mm film at a time when its popularity had diminished.

brief they had been set by their lecturers at Kingston University. "The title was 'Outdoor'. What we decided to do was take things that are normally hidden inside our bodies and display them outside," Luke explained.

 

odd method of collection

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Luke Evans & Joshua Lake, Inside Out (1), 2013, Digital C-type print, 182.8 x 121.9 cm

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Luke Evans & Joshua Lake, Inside Out (2), 2013, Digital C-type print, 182.8 x 121.9 cm

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Luke Evans & Joshua Lake, Inside Out (3), 2013, Digital C-type print, 182.8 x 121.9 cm

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Nicholas Kirkwood x Keith Haring

Anglepoise® + Paul Smith Collaboration

Richard Malone

“Hogwarts-meets-sixties alice in wonderland” dresses

true innovation and nurturing the most boundary-breaking of designers - See more at: http://www.wonderlandmagazine.com/2014/05/ones-watch-csm-14/#sthash.BVIYGwj0.dpuf

remodeled “pharrell” hats

http://www.businessoffashion.com/articles/people/top-central-saint-martins-ba-graduates-2014

 

hometown is Wexford, south east Ireland

was affected badly by the credit crunch

this context of depression and economic decline forms the core of Malone’s BA womenswear collection.

 

garments are cut into exaggerated, schoolwear-ish silhouettes

fabrics that veer between the luxurious and the down-at-heel

embroidered Taroni silk,

up-cycled fabrics and industrial pleather daubed with blue house paint.

 

"I did a lot of filming in Ireland after the recession, and Wexford is basically closed down now,”

"I juxtaposed that with really rural idillic images, stereotypical notions of Irishness, and that developed into the collection.

My dad who was a painter who lost his job, so I used his leftover paint and embroidered it.”

 

Such juxtaposition is rife throughout the collection.

embroidered leaves are picturesque and ally to the airiness of the garments,

towering, crumpled sun hats

whimsicality against the cracking paint – applied with a roller

vibrancy of the silks that Malone has used

creates a rebellious aesthetic.

 

As part of my research I documented all of these idyllic places, but they’re really places where teenagers are going to drink,”

That's basically where all these places are – places where people drink and hang out after school.”

http://www.disegnodaily.com/article/central-saint-martins-ba-fashion-show

 

 

Malone’s graduate collection based on Irish youths after the recession rebelling through their clothes

An advocate of class diversity in fashion education, he bemoans the fact that working class kids have little opportunity to get to third level

the mix of backgrounds so much a feature of the school, will no longer continue

recycled materials like leatherette, printed cotton and gingham in exaggerated shapes, padded and quilted

http://www.irishtimes.com/life-and-style/fashion/richard-malone-wexford-fashion-designer-selected-as-prestigious-talent-1.2193742

 

use fashion as a creative response to their environment; revealing how cultural identity is formed and refined by what is around us.

sources exist outside of the fashion world, resulting in his own unique fashion language.

hometown of Wexford seems an unlikely inspiration for his extreme tailoring however his environment is key to his unique direction

draws upon the visual references such as school uniforms, work wear, hand-me-downs and religious dress which he merges together to form a ‘typical’ Irish identity.

Inspired by the ordinary and the lack of vanity in daily dressing, he reinterprets this in his use of patchwork and embroidery. These crafts are one of the many juxtapositions which form the basis of his design register.

mixes skills associated with old age couture, and materiality associated with the working classes. Sustainability underlies each design.

 

Fashion is a mans of creating in the same way as sculpture or painting

Fashion is really exciting because it deals directly with ideas of identity, memory and purpose

Never just making garments, approach is often cross disciplinary, and has included video work, live and public performance, as well as documenting and drawing

Creating an original language or narrative. I never search through old books or look at fashion for references for my collections, I prefer to get out there and experience, filming, interviewing, drawing, or just creating on the stand or fitting strange shapes on the body

practice is really concerned with people –their experiences, meomroies

 

I despise the excesses of this Tumblr/Instagram culture, it makes everything incredibly generic and forgettable - where fashion is just an image to scan over, a reference, there is so much more to it, it is incredibly important to me that people experience the clothes, that they understand the narrative and the ideas

 

All of my collections are sustainably sourced and often made from end of roll and waste fabrics

People is greatest inspiration

interesting culture here in Ireland and that really inspires me, this constant flux of identity, of emigration, of 'Irishness', its really interesting as it seems to be constantly evolving

 

http://www.kildarevillage.com/en/campaign/id15/richard-malone

http://www.irishdesign2015.ie/news/single/in-the-fold-richard-malone

 

important that designers and practitioners are able to work across disciplines, rather than just in linear subject areas. 

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CV Inspiration: CSM FAD 3DDA

CV Inspiration: Kassem Jamal

Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Bradbury Thompson for Westvaco Magazine

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Jonathan Barnbrook

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Jonathan Barnbrook

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Alan Fletcher, Poster: Rorsach test for Polaroid Corporation, 1989

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Alan Fletcher, Charles Poster (1990's) for National Portrait Gallery, London, UK

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Erik Nitsche, Atoms for Peace in series of General Dynamics posters, 1954

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Erik Nitsche, Atome Im Dienste Des Friedens in series of General Dynamics posters, 1954

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Erik Nitsche, Triga in series of General Dynamics posters, 1954

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Michael Jones McKean, Cloud Formations

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Radio Podcast, Design Matters with Debbie Millman

Thomas Heatherwick

"I've never seen these as different disciplines. I see this collection as one discipline that is designing in three dimensions. In general, we don't work in two dimensions. We're not flat."

"The interest is in the world that surrounds us and why things exist"

"Buses are a main part of the architectural experience in London. The particularity and expression of the values of cities don't just have to manifest in the art galleries. They manifest in the infrastructure. And in fact I believe it's more interesting to focus on improving infrastructure."

The Seed Cathedral - two interlinked and experiential elements based around the subject of nature and cities, a multi-layered landscape treatment, explores the particularity of nature and UK cities

avoided cheesy adverts for britain (umbrellas, bowler hats, the queen, david beckham), showed something Britain has never seen either, stand out with small budget

http://www.dezeen.com/2014/12/08/thomas-heatherwick-book-of-interviews/

Architecture, product design, sculpture and urban planning

projects give a magical, transformative feel, has an experimental quality that pushes the boundaries of technical convention

http://design.designmuseum.org/design/thomas-heatherwick  

ingenious, comes up with solutions nobody else could have thought of

Rolling Bridge -a pedestrian draw bridge rolls up on hydraulic pistons to let boats pass without sacrificing its beauty

repurposes unusual materials

turns everyday sights like a bus/ bridge into fantastical experiences

http://www.fastcodesign.com/3042805/the-provocative-architecture-of-thomas-heatherwick 

 

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Heatherwick Studio, The Seed Cathedral, The UK Pavilion at the Shanghai Expo 2010

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Heatherwick Studio, The Seed Cathedral, The UK Pavilion at the Shanghai Expo 2010

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Heatherwick Studio, The Seed Cathedral, The UK Pavilion at the Shanghai Expo 2010

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Heatherwick Studio, Bombay Sapphire distillery

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Heatherwick studio, rolling bridge, london 2002-2004

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Dóra Maurer, Seven Rotations 1–6, 1979

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Magic Mirror - Exhibition at Nunnery Gallery

Magic Mirror. Nunnery Gallery

 

http://www.metalocus.es/content/en/blog/magic-mirror-exhibition-works-claude-cahun-and-sarah-pucill

 

Across 2 worlds, innovative juxtaposition

Culturalmissives

Self-invention

Power of imagination

 

Claude Cahun –enigmatic photographs, played different roles in her photographs

1920s-40s original photographs, inspired the film of pucill

photographs deemed as self-portraits

 

“erotics of collaboration” whereby reciprocity during the photographic process intertwines with queer sexuality

made by life partner marcelmoore, likely behind caera

portrayed as performer in avant garde theatre

 

Sarah Pucill –london filmmaker 2013 film “magic mirror”, fulfills cahuns implied filmic potential

Cinematic interpretation

Shift from photography to film enacts an alchemical transformation from the two dimensions of the flat photographic surface to the four dimensions of film, adding aspects of moving image and time

Voice over of translations of cahuns text: selections of writings in English translation –the texts narrate the “story” of a journey through the mirro is cahun’s writing”

stop motion animation of photomontages

engages with both the text and images, a hybrid, fluid interchange between artists and worlds

Casts andro anrex in the guise of cahun for parallel sensibility of gender non-conformity, performativeity, and pioneering queer visual identity

Two other actors also appear as cahun, complicating any notion of a singular stable subject position, rowina lennon and kate hart

 

 

 

*sarah pucill, quilt, 2013, photographic print from negative

claude cahun, c.1947 (st brelades graveyard in the background

claude cahun & marcel moore, photomontage plate ix: i.o.u. aveux non avenues, 1930

 

sarah pucill on cahun

 

“there is a difficulty to cahun’s work that draws me into her world”

 

her message is always latent, not manifest

shaves her head and shows off her “unfeminine”

the courage to be repulsive –cahun

independence and slef-reinvention

 

cahun never smiles in her photographs, her gaze is serious, concentrated

she writes “smiling is the province of women”

ungendered gaze looks

immortalize the moment

labyrinthine play of a gaze that embraces the viewer to explore the complexity of female self imaging in relation to a queer sexuality has been a point of stimulus for my own work

 

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Sarah Pucill, Hand Mirror, 2013, Photographic print from negative

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Sarah Pucill, Quilt, 2013, Photographic print from negative

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Nobutaka Aozaki, From Here to There, 2012

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Nobutaka Aozaki, From Here to There, 2012

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Gabriel Orozo, Until You Find Another Yellow Schwalbe, 1995

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Gabriel Orozo, Until You Find Another Yellow Schwalbe, 1995

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Omer Fast, CNN Concatenated, 2002

Omer Fast, CNN Concatenated, 2002

Douglas Gordon, 24 hours Psycho, 1993

Alfred Hitchcock's "Psycho"projected so slowly that it takes 24 hours from start to finish

Shown on a see-through screen in a dark, empty room, the blurry, pixilated video progresses at a jerky snail's pace, so slowly that few viewers will be able to tolerate it for very long.

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Extract from Douglas Gordon's 24 hours Psycho, 1993

Deutsche Borse Photography Prize 2015 - Exhibition at The Photographer’s Gallery

John Deakin, George Dyer, mid-1960s, The picture contains pathos for the doomed Dyer, and was retouched and spattered with paint by Bacon

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John Deakin, George Dyer Talking, A series of photographs taken around 1965

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John Deakin, George Dyer Talking, A series of photographs taken around 1965

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Øje Rum

cryptic and minimal collages by the Copenhagen based artist

http://oejerum.dk/collage/

 

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Øje Rum, On Burnt, Gauzed Wings, 2014

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Øje Rum, Red Absence, 2014, 30x40cm

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Øje Rum, Circle of Trees, 2013

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Øje Rum, Beyond Absence, 2015

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Øje Rum, Centre of a Ghost, 2013

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Øje Rum, Weakness, 2015

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Øje Rum, Flower Walk With Me, 2013

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Julie Cockburn

http://www.transitiongallery.co.uk/htmlpages/Exam/jc.html

faceless portraits

vintage photos that have been snipped to bits and put back together into amazing kaleidoscope-ish configurations

an artist of portraits and landscapes that uses embellish meant of found paintings and photographs by embroiling, painting and reassembling or in this case cutting and reshaping.

http://www.theguardian.com/artanddesign/2013/may/09/maurizio-anzeri-embroidered-photographs-cardiff

 

http://www.juliecockburn.com/

http://www.flowersgallery.com/artists/julie-cockburn/

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Julie Cockburn

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Julie Cockburn

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Julie Cockburn, The Enigma / The Sage

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Julie Cockburn, Crystal 3, 2010, collaged digital photograph

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Julie Cockburn

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Joseph Yolk

Create new meaning by scratching out and adding to image

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Amie Dicke

takes the fashion model from a static image of perfection and shows the real energy of a living human being who is subject to the one way flow of time and aging on the surface,but is really a mass of ever changing energy with the illusion of remaining something of a static figure.

 "Even as a candle is shedding light, it is dying. 
It gets smaller and smaller in direct proportion to the light and heat it emits. 
Its job is to give itself away."  
Tony Doherty

We have a lot in common with a candle when you think about the analogy.

We are an energy source with a finite physical form which is slowly or rapidly burning out.
Which in turn could be snuffed out at any time.

But it's not just our body that is like the candle.
Our planet is constantly changing also. 
Nothing is static,all is movement,all is energy.

Nothing can really be kept in storage for too long.

You have to use it.

 Everything has a use-by date,whether we use it or not.

Possessions aren't much good to a ghost after all,
so make the most of your possessions 
before you become a ghost yourself .-)

art is...vibrant, alive

http://brizdazz.blogspot.co.uk/2013/02/amie-dickeartist-in-flow.html

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Amie Dicke, I Lay on the Verge of Deep

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Amie Dicke, Once a dream weave a shade

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Amie Dicke, Ashes, 2005, cut out, ink on paper, 255x350 cm

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Amie Dicke, Two Lines and Three Frames, Print on paper with sandpaper abrasion, 150 x 195 cm, (Photo: Hans Georg Gaul)

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Amie Dicke, Red Paint and Beer Bottle, Print on paper with sandpaper abrasion, 150 x 195 cm, (Photo: Hans Georg Gaul)

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Amie Dicke, Weeping Upon the Void

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Yves Klein

audacious experiments with new techniques and new attitudes to art.

monochrome paintings

Early monochrome pictures in orange, yellow, pink, red and green, but from 1957 worked mainly in blue; also made from 1960 a number of monogolds, with gold leaf.

Began in 1957 to experiment with fire paintings and 'immaterial zones of sensibility', and in 1958 with 'Anthropométries' made by a nude model pressing herself against the canvas under his direction

invented his own colour, use of a single colour, a rich shade of ultramarine

http://www.tate.org.uk/art/artists/yves-klein-1418

The models had become, he said, “living brushes”.

“He has been dismissed by some art historians as a charlatan or – because of his use of naked female models – as conventional and sexist, but his strategies were playfully critical and are becoming more significant in their influence for the younger generation. It could be argued that he was a critical prankster on par with Duchamp.” -Catherine Wood 

attacking many of the ideas that underpinned the abstract painting that had been dominant in France since the end of the Second World War

earlier avant-garde artists such as Kazimir Malevich and Aleksander Rodchenko, who were also attracted to the monochrome

used performance later on in his career, he is like many artists who rediscovered some of the tactics of earlier avant-gardes in the 1950s and '60s.

influenced by judo

monochrome blue paintings might be read as a satire on abstract art, for not only do the pictures carry no motif, but Klein insisted there was nothing there at all, only "the void

alleged that the viewers, like the faithful devotees of a false god, do more of the work than the artist, investing the forms with their own feelings rather than discovering the artist's

abstract painting that dominated French art in the 1950s was invariably premised on the notion that an artist could communicate with the viewer through the power of abstract form.

genuinely fascinated by mystical ideas, by notions of the infinite, the undefinable, the absolute, and his use of a single rich and suggestive tone of blue might be seen as an attempt to free the viewer from all imposed ideas and let her mind soar. For, as Klein believed, lines in pictures were a form of "prison grating," and only color offered the path to freedom.

a stress on immediate experience that reflects aspects of the Performance art movement of the 1960s. Although he was never specifically opposed to creating art objects, many of Klein's later works seem to want to abandon the object as a vehicle for art and instead find ways to more directly transmit ideas and experiences.

he looked up at the sky and realized the infinite, immaterial space surrounding the universe. To depict his vision, he chose to use only one color, a vibrant shade of ultramarine, which he later perfected for use with the aid of chemists. The painting contains no trace of line or imagery, encouraging the viewer to immerse herself in the color alone and to experience its evocations. Symbolic, perhaps, of the sky and the sea, it also had resonances in Klein's own religion, Catholicism, as not only a symbol of the Holy Ghost, but also as the shade traditionally used in the depiction of the Virgin Mary's robes in Renaissance paintings.

http://www.theartstory.org/artist-klein-yves.htm

stunts and attention-grabbing performances he was a sensualist as much as a provocateur 

commitment to the spiritually uplifting power of colour: gold, rose, but above all, blue

International Klein blue (IKB)

“For Klein, pure colour offered a way of using art not as a means of painting a picture, but as a way of creating a spiritual, almost alchemical experience, beyond time, approaching the immaterial,”

“Out of all the colours Klein used, ultramarine blue became the most important. Unlike many other colours, which create opaque blockages, ultramarine shimmers and glows, seemingly opening up to immaterial realms. Klein’s blue monochromes are not paintings but experiences, passageways leading to the void.” -Kerry Brougher

depthless monochromes and obsession with ‘the void’ can be understood as expressions of the threat of nuclear holocaust.

 “We absolutely must realise – and this is no exaggeration – that we are living in the atomic age,” Klein once said, “where all physical matter can vanish from one day to the next to surrender its place to what we can envision as the most abstract.”

a vertiginous quality that seems to suck us out of reality towards another, immaterial dimension. The effect of looking at them is not dissimilar to meditating upon a deep azure sky

http://www.bbc.com/culture/story/20140828-the-man-who-invented-a-colour

Anthropométrie Sans Titre (1961) - Series "Untitled Anthropometry"

After concentrating on the monochrome canvases

new departure with his signature IKB color, using nude models as his brush.

covered nude females in blue paint and had them press, drag, and lay themselves across canvases to create bodily impressions

inspired in part by photographs of body-shaped burn-marks on the earth, which were caused by the atomic explosions at Hiroshima and Nagasaki

crafted this idea into a performance piece, hosting a formal event where guests observed the nude models executing the piece

comic and bizarre

pictures represent a fresh and vivid approach to the idea of figurative painting, and one darkly influenced by the threat of the Cold War.

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Yves Klein, Anthropométrie sans titre (ANT 123), 1961, Oil on canvas on paper, resin

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Yves Klein, Anthropométrie sans titre (ANT 74), 1961, Oil on canvas on paper, resin

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Yves Klein, Anthropométrie sans titre (ANT 154), 1961, Oil on canvas on paper, resin

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Yves Klein, "Anthropometries of the Blue Period" and "Fire Paintings",1960

The Human Brain

 

http://serendip.brynmawr.edu/bb/kinser/Structure1.html

 

The daily cycle between sleeping and working

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CV Inspiration -Giulia F.

CV Inspiration Reference Notes

William Morvan:

Love the use of stop-motion, especially with the rotations of the dial, turning to differenet catergories with each 90 degree turn. Also liked how he incorporated real-life video with the photographs of him. The upbeat music and subtitles keeps the viewers attention, however the music lyrics (such as "live fast and die young, refences to drugs like "heroin" and "cocaine", among others ) doesn't seem to resemble qualities of a desirable employee. It is worth noting that this individual is french and may not realise the meaning behind the song, but this shall be noted when creating my own CV Also pay attention to video thumbnail. Slightly long repeats of stop motion, would be less likely to get bored if it went at a faster pace -within 1 minute

he used hands as transitions - i wonder if there would be a better option for my CV

Components to take away:

1st slide should introduce first name, as should the last slide -incorporating contact email here.

2nd background to include full name, age and occupation 

Using magazine cut outs and different fonts for the same word as subtitles, rather than speaking

 

Kassem Jamal:

Music sound is at a rather low level, and so comparatively less easy to engage with relative to William Morvans

Simply lists -this can be done in a traditional CV, this video CV should aim to accentuate and enhance the personality so for employer to refer to CV subsequently.

Content is good

 

3DDA

choice of music is important

want to avoid interviews, just talking - rather boring and doesn't reflect my personality

 

Giulia F.

My favourite out of all: face paced, good choice of music, creative use of food, liquids and other objects to represent her skillsets, strengths and personal characteristics

especially like the way she shoed her artworks at 0:54, however i thought this was a bit too fast and i would have been interested to see each individual artwork closer in detail

 

Crysta Timmerman 

Very entertaining, cropping out the face and only utilising editing effects and hand movements

however this choice of editing isn't practical for me and the current skill set and time until deadline i have.

Notes on how to create a successful video CV by Aimee Bateman

https://www.youtube.com/watch?v=KxLKPQO3z1I

 

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Ernesto Artillo

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Ernesto Artillo

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Ernesto Artillo, Nube, Photography and collage

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Gunnar Green & Frederic Eyl, Aperture Facade Installation

facade installation with interactive and narrative displaying modes

an iris diaphragm matrix, the facade's surface with its apertures' variable opening diameters is enriched by a dynamic translucency, that creates new imagery as well as a new channel for communication between inside and outside. 

dozens of tiny aperture holes that (with a slight delay) open if there is no light and closes if there is. The result is the silhouette of passersby

http://live.stereolize.com/2009/07/25/765/art-tuesdays-interactive-installation-detects-light-to-openclose.html

http://www.fredericeyl.de/aperture/

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Gunnar Green & Frederic Eyl, Aperture Facade Installation

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Gunnar Green & Frederic Eyl, Aperture Facade Installation

TwoPoints.Net -Design Studio

http://www.twopoints.net/

Client: novum
Year: 2013

The core of TwoPoints.Net’s network is directed by Lupi Asensio and Martin Lorenz

using a photochromic ink which changes it’s color when exposed to UV rays. The inspiration has been a group of german tourists getting a proper “nata y fresa” at a terrace in Barcelona.

designed a light reactive cover

becomes 'sunburned' when exposed to UV light

in shade the cover illustration depicts a pasty, tattoed torso. When exposed to sunlight, however, the light reactive inks kick in to give the unfortunate subject a nasty sunburn

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Shiego Fukada

His works portraying deception

incorporating optical illusions

created illusionistic art (both two-dimensional and three-dimensional) in all manner of categories, impossible objects, ambiguous sculptures, distorted projections, anamorphic art, etc.

“I believe that in design, 30 percent dignity, 20 percent beauty and 50 percent absurdity are necessary”

 

Minimal -radically reduced formal vocabulary

concentration on a few broad colour planes

Content has Dadaist wit, optical illusions and surreal alienation

the expressive power of line

the idea of a thing

the filled void

the intoxication of colour

transparency and light

Japanese posters today

Black and white in dialogue

A fascination with writing

 

http://www.hkdi.edu.hk/hkdi_gallery/japanese/exhibits.html

 

well-known for his anti-war and activist posters which featured

iconic and simple graphics

mainly concentrated on social and cultural concerns

used humour as a key element with visual tricks

http://www.designboom.com/design/graphic-designer-shigeo-fukuda-dies-at-76/

 

simple yet strong composition consisting of simply solid shapes

 

a sense of fun, sarcasm and the unexpected.

http://www.dnp.co.jp/gallery/ggg_e/exhibition/g002/index.html

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Shiego Fukuda, 1975

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Shiego Fukuda

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Shiego Fukuda, UCC Coffee advertisement, 1984

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Shiego Fukuda, Human Rights, 1989

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Shiego Fukada

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Shiego Fukada, The Letter S

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Shiego Fukada, 1994

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Shiego Fukada

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Ji Lee, Word As Image

All of these images have been created with a black, sans-serif font which makes them easier to represent objects in a minimalistic way. 

http://pleaseenjoy.com/projects/personal/word-as-image/

This project started nearly twenty years ago as an assignment in typography class at art school. Students were encouraged to see letters beyond their dull, practical functionality.

The challenge is to visualize the meaning of a word, using only the graphic elements of the letters forming the word, without adding any outside parts. 

 

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Ji Lee, Word As Image, Exit

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Ji Lee, Word As Image, Ill

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Ji Lee, Word As Image, Christianity

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Ji Lee, Word as Image - Animations: Bran Dougherty-Johnson, Sound: Joel Pickard

Save The Children, Most Shocking Second a Day Video, 2014

Amnesty International: It's Not Happening Here, But It's Happening Now

poster campaign for Amnesty International Switzerland

the issue of human rights abuse

 

http://www.dandad.org/en/amnesty-international-its-not-happening-here-its-h/

 

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Amnesty International: It's Not Happening Here, But It's Happening Now

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Amnesty International: It's Not Happening Here, But It's Happening Now

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Amnesty International: It's Not Happening Here, But It's Happening Now

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Amnesty International: It's Not Happening Here, But It's Happening Now

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Alix Marie

Crossing and mixing across the mediums of photography and sculpture

considers the photograph as object and explores its potential for materiality, touch, and three-dimensionality

dissertation work upon photography and fetish 

carried out with working with notions as the bodily and femininity

My experience of my own body and my perception of others’ is at the core of my practice.

investigating the similarities between skin and the photograph: both surfaces, both fragile, both filled with secrets and taboos.

As a photographer and a person I feel teased by the impossibility of seeing what is beneath the image and what is beneath people’s skin, I would like to scratch the surface and dig -trying to merge both together, sometimes on the verge of the abject, looking at what it does to play with the boundaries of the representation of the body.

exploring the limits of my relationship to photography and image-making as much as the limits of my relationship to bodies. 

http://www.vam.ac.uk/content/articles/s/speed-resident-alix-marie/

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Alix Marie

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Alix Marie, Orlando, installation, 2014

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Alix Marie, Encounter, C-type print, 2014

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Alix Marie, French Kiss, C-type print, 2013

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Alix Marie

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Alix Marie

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Alix Marie, Under My Thumbs, life-size plaster cast of artist hand and inkjet print, 2013

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Alix Marie, Sur Le Pouce, life-size plaster cast of artist hand and c-type scan, 2012

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Alix Marie, L'Ovale, 36 x 45 cm, 2013

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Jeremy Deller, Acid Brass, 1997

Brain Exercise, strange connections

acid brass

 

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Jeremy Deller, Acid Brass, 1997

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Vito Acconci, Following Piece, 1969

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John Smith, The Girl Chewing Gum, 1976

ideas of control and faith

directing the world

everyday life

a staged reality

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John Smith, The Girl Chewing Gum, 1976

John Baldessari, The California Map Project, Part 1, 1969

Made the letter of in real space according to where it was in the map

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John Baldessari, The California Map Project, Part 1, 1969

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Kate Holland Lewis, Tangled Pathways, 2006

Mapped where pain was in body

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Kate Holland Lewis, Tangled Pathways, 2006

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Kate Holland Lewis, Tangled Pathways, 2006

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Pierre Bismuth, The Jungle Book Project, 2002

Does the ability of the characters to understand each other represent a utopian sentiment?

When installed, The Jungle Book project recalls a child's nursery, suggesting that Bismuth also evokes the pre-linguistic stage of young children.

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Pierre Bismuth, The Jungle Book Project, 2002

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The Editor

Basilico, S. (2004) The Editor - Essay taken from: Cut, Film as Found Object in Contemporary Video, Milwaukee Art Museum  
 

The importance of the film editor

The shaping force behind the movie

Artists who use transgressive gesture to rend the space of illusion

 

The process of editing or cutting has been central to the work of many visual artists

Eg. May 1912: Pablo Picasso cut wallpaper of a chair print and attached to a drawing found in a café, an act that transformed both the artwork and the medium –introduced the real world, and not just a depiction of the real, into the space of pictorial illusion

 

The moving picture is the medium of the 20th century

Film has both documented and constructed our reality

Pervasive and influenctial medium of our time

Cucial in forming the nations-self image and the way other see it

Taking found material, and, through manipulation, revealed its power to communicate and shape reality

 

Tell stories, record man-made and natural disasters, inspired political movements

 

Strategries, working in different contexts

Gestural use of editing

Looping, repetition, erasure, compression

Richard serra’s “Verb list”: a list of actions that a sculptor could use to create sculpture –to roll, to crease, to fold, to cut

 

Emphasis not on the use of found footage, but how it has been manipulated

Use of preexisting films

Artists replace the typical authorial role of the director

 

Editing and shaping of what may already exist is a more powerful and revealing act

By selecting what already exists, they foreground the deconstructive nature of this act, whose purpose is to destroy illusion and reaveal the inherent manipulative powers of the medium

 

The goal of a typical, mainstream holly wood movie is to tell a story convingcingly

Imporantance of “continuity editing”, prevalent and fundamental

Privelge the narrative of the movie over the image 

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The 1960 USA Presidential Debate

Maurizio Anzeri

"As long as it creates a reaction it's alive" -Maurizio Anzeri

  • turns vintage photographs into canvases
  • traces portraits with stitches & elaborate needle-work
  • transforms ghost like images into eye catching, intricate designs
  • set against somber backgrounds results in a sharp juxtaposition
  • consider history of the technique and the images used - versus production of work which treads new ground
  • challenges our attitudes towards the relevance of traditional techniques in contemporary art

http://www.dazeddigital.com/fashion/article/10468/1/it-came-from-the-sky

  • reconstructs found vintage photographs by embroidering abstract designs directly onto the images
  • contrast with the smokey portrait photographs. The intricate detailing and combination of materials work to evoke a particular aura, and in some cases hint at the psychological vantage point of a subject. What results is a muddling of boundaries: between two and three-dimensionality, between observer and observed, between masking and revealing, between tactility and fixedness, between past and present.

http://www.lavalette.com/mixed-media-maurizio-anzeri/

http://www.saatchigallery.com/artists/maurizio_anzeri.htm?section_name=new_britannia

 

studied Sculpture and Graphic Design

 http://www.vitrinegallery.co.uk/artist/maurizio-anzeri/

http://www.yatzer.com/the-embroidered-secrets-of-maurizio-anzeri

http://www.theguardian.com/artanddesign/2013/may/09/maurizio-anzeri-embroidered-photographs-cardiff

 

Anzeri uses Christian names as his titles – Giovanni, Peter, Angelo 

 

http://www.dazeddigital.com/fashion/article/10468/1/it-came-from-the-sky

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Maurizio Anzeri, Round Midnight, 2009, Emboridery on Print, 62x45cm

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Maurizio Anzeri, I Will Be With You the Night of Your Wedding, 2013, Embroidery on photograph, 21x15.5cm

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Maurizio Anzeri, Giovanni, 2009, Photographic print with embroidery, 51x41cm

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Maurizio Anzeri, Rebecca, 2009, Embroidery on found photograph, 20.5x15.5cm

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Maurizio Anzeri, Lille, 2011, Embroidery on photograph, 23x17cm

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Maurizio Anzeri, La Famiglia, 2013

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri, Penny, 2009, Embroidery on found photograph, 24x13 cm

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri for Dazed and Confused, 2011

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Maurizio Anzeri, Marianna, 2010, Embroidery on Photograph, 9x7in.

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Maurizio Anzeri, Twins, 2011 Embroidery on Photograph, 14x17in.

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Maurizio Anzeri, Untitled, MakeUp Oil Painting, Thread, Glass, Wood, 35x28 in.

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Louise Bourgeois: Fabric Drawings

widely recognised for her ambitious sculptures

using clothes and linens she had kept in her closets for decades. She made a number of fabric books and ‘drawings’ in collaboration with a seamstress whom she trusted to faithfully translate her ideas.

stemming from childhood memories of her mother sewing and weaving

interested in psychoanalytic interpretations of ‘reparation’, in which a subject makes amends for the instinctive violence enacted on a loved-one, starting with the relationship between infant and mother

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Book Objects

A sub-category of sculptural books that typically resemble/ manipulate facets of the book but are not necessarily considered in and of themselves books (i.e. meant to be "read")

challenges the role of books as inherently useful objects, in contrast to fine art's famed in-utility.

 

Sculptural books

works of art that begin or end with the book form

often manipulated by dis-assembly and re-assembly to create new structures

various materials are reinterpreted to form book-like structures.

 

 

Many explore the medium of the book through a process of construction, deconstruction, or re-construction

Construction

the basic elements of the book: spine, cover, signatures (groups of bound pages)

Deconstruction

the disassembling of the book form either at the physical or figurative level

Re-construction

the disassembling of the book into its basic elements but also the creation of the book,

using alternative or re-used materials

 involve taking apart or modifying existing books as well as other printed materials (magazines, comics, etc.) to create new forms (see book-like objects). 

 

Materials as diverse as cloth, steel, and plastic have been adapted into the book form as well as objects such as jars, boxes and other forms exploring the book as "container"

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Jarosalv Válek, The Book - object, 30 cm, stainless steel

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Werner Pfeiffer

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ABC 3D

www.youtube.com/watch?t=41&v=wnZr0wiG1Hg

Thomas Houseago, Baby, 2009—2010 Tuf-Cal, hemp, iron rebar, wood, graphite, charcoal, 104 x 92 x 64 in

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Thomas Houseago, Baby (Detail) , 2009—2010, Tuf-Cal, hemp, iron rebar, wood, graphite, charcoal, 104 x 92 x 64 in

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Thomas Houseago, "My Genghis Khan Suit/ Like A Circle Around the Sun" at Xavier Hufkens in St-Georges

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Thomas Houseago, From "What Went Down" Book, Modern Art Oxford, 2011

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Thomas Houseago, From "What Went Down" Book, Modern Art Oxford, 2011

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Thomas Houseago

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Thomas Houseago, Cyclops No. 1, 2009, Tuf-Cal, hemp, iron rebar, 191 x 109 x 107 cm

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Thomas Houseago, Construction Mask I, 2012 Tuf-Cal, hemp, iron rebar, 42 x 31 x 17 in

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Thomas Houseago at "Contemporary Fine Art" in Berlin, September 1 - October 6, 2009

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Figure 1, 2008, Wood, graphite, tuf-cal, hemp, iron, oil stick

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Daniel Silvers

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Daniel Silvers

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Daniel Silvers

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Fashion and Graphic Design Collaboration: Brand New

Another example of a project that works in harmony

Third year students at Sweden’s Beckmans College of Design with some of their country’s most prestigious fashion houses to collaborate on a project that saw them sharing seasonal inspirations and creating new designs based on the different ethos’ of the brands.

produced a print to accompany the collection that showcases the clothing as well as giving the fashion students a chance to collaborate with their graphic design contemporaries

  • Andrea Andersson, Ludvig Franzén, Lisa Hågeby and Rasmus Östgård Ohlson: Brand New Catalogue (photography by Märta Thisner)
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CV Inspiration: William Morvan

CV Inspiration: Crysta Timmerman

Yang YongLiang, City

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Yang YongLiang

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Yang YongLiang, Artificial Wonderland No.1 (Part 1 detail), 2010

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Yang YongLiang

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Yang YongLiang, Sleepless Wonderland, Lightbox (Detail), 2012

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An Exhibition in Tif Sigfrids' Ear, 2013

An extremely unconventional idea, inspiring new ways in the world of art and design in terms of scale and locations.

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Joe Sola, Portraits -An Exhibition in Tif Sigfrids' Ear, 2013

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Olafur Eliasson, Your House, 2006

exploits the narrative and sequential possibilities of the book form

examines the perceptual and spatial experience of domestic architecture.

uses a variety of other documentary, optical, exploratory, and presentational techniques

"documents" the physical world, drawing on both the technical and the handmade to create an extraordinary, disorienting illusion of an inhabitable, portable home.

http://www.moma.org/learn/resources/library/council/eliasson

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Olafur Eliasson, Your House, 2006

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Jack Fung

captures Hong Kong in shadows, geometry and perfect symmetry

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Jack Fung

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Jack Fung

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Jack Fung

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Jack Fung

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Jack Fung

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Jack Fung

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Jack Fung

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Minimalistic Ads: Brickman, Ramat Gan in Israel for Tzomet Sfarim Bookstore

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Minimalistic Ads : JWT Singapore for WWF2, It's Your Turn

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Enjoy Commercialism

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Dove Real Beauty Sketches | You’re more beautiful than you think (3mins)

I think its interesting to see how companies advertise their products. This advertisement aimed to have women wonder about their "real beauty", that body shaming has led women to believe that they are less beautiful than how others perceive. Seeing how the corporation has decided to manipulate this social thought into a selling point has been both inspiring and deceptive in some level, the comments of how the audience has reacted range from emotional positivity, "life-changing" reactions to scepticism of others.

comments:

the painter just playing with the ego of those women.

Really powerful stuff here about self opinion

good message, but quite hypocritical coming from a cosmetic company talking about natural beauty

Its branding/marketing strategy to make you buy into the belief of looking beautiful though the brand of Dove. This is one of the cheesiest and most cringe-worthy video ive seen. Trying to manufacture emotion from a consumer...so forced and fake

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Erin Armstrong

A wonderful dreaminess to paintings, adds an ethereal slant to the everyday with her characters existing in a haze of colour and brushstrokes

create her own reality in which her silhouettes can exist,

abandons clean lines and bravely swooshes paint across the canvas

A lovely briskness is created in these loose figures and the beautiful jewel-like shades blending with subdued pastels adds to the whimsical atmosphere. Calming and gracefu

I love how Erin adds natural elements like plants or water to her acrylic paintings to give them some sort of grounding in the real world.

 

http://www.itsnicethat.com/articles/erin-armstrong

http://www.erinarmstrongart.com/

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Erin Armstrong, Through the French Quarter

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Erin Armstrong, Through the French Quarter II

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Erin Armstrong, Night in Zanzibar

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Erin Armstrong, Run, Run, Baptism

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Erin Armstrong, When Pharouque Came Down

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Moebe Frames -Materials

This system is both simple and ingenious. 

The frame is held together by rubber bands and is transparent.

image appears to float

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Moebe Frames

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Moebe Frames

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TED Talks, Tony Fadell: The first secret of design is ... noticing

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