Semiotics!!!

semiotics is the image
what is a sign? aaa picture or symbol that means something or related to something :)
icon, represmation.
signfides~Communion.
an image is a sign that can be read as document or text.
signfer
signified example:

semiotics:

i think we wont see a clear signifeir or clear signified but you will still get the point some time images could be clue and the meaning is the signified there are so many ways and long journey to have an exorcise witch is icon-index-symbol so keep ur eyes on whats going around you or inside of u its complicated life out there so as art and design to. "i am a signifier the world is signified me and all whats inside me and all the ppl around me " (-_-)

Carl Barron comedy about symbol

Félix González-Torres

Gonzalez-Torres grew up in Cuba, and lived in Puerto Rico before moving to New York City in 1979. Gonzalez-Torres had a one-man exhibition of his early text pieces in 1988 at the Rastovski Gallery (560 Broadway) in Soho. In the same year, he also had solo exhibitions at the New Museum of Contemporary Art and INTAR Gallery in New York. His work was the focus of several major museum solo exhibitions in his lifetime and after his death. Retrospectives of his work have been organized by the Solomon R. Guggenheim Museum in New York (1995), the Sprengel Museum in Hannover, Germany (1997), the Serpentine Gallery in London (2000), the FLAG Art Foundation in New York (2009) and WIELS, Fondation Beyeler and the Museum für Moderne Kunst Frankfurt in 2010-2011.
Gonzalez-Torres was known for his quiet, minimal installations and sculptures. Using materials such as strings of lightbulbs, clocks, stacks of paper, or packaged hard candies, Felix Gonzalez-Torres's work is sometimes considered a reflection of his experience with AIDS. He was also considered within his time to be a process artist due to the nature of his 'removable' installations by which the process is a key feature to the installation.

appropriation!!!!

Appropriation means the 　

The proper thing to say?

Some times the proper way is not really the right way!! There is no right or wrong in art every thing means something even noting means noting!!!!

In this part words could be powerful but art could be more check out work of many different famous and unknown artists they find a way in between proper/improper even tho I am still confuse what appropriation in art should be!!!

Kurt Schwitters

http://www.youtube.com/watch?v=4JZfONAWMWg&feature=related

Just What Is It that Makes Today's Homes So Different, So Appealing?

Richard hamilton 1956

George Orson Welles (May 6, 1915 – October 10, 1985), best known as Orson Welles, was an American film director, actor, theatre director, screenwriter, and producer, who worked extensively in film, theatre, television and radio. Noted for his innovative dramatic productions as well as his distinctive voice and personality, Welles is widely acknowledged as one of the most accomplished dramatic artists of the twentieth century, especially for his significant and influential early work—despite his notoriously contentious relationship with Hollywood. His distinctive directorial style featured layered, nonlinear narrative forms, innovative uses of lighting such as chiaroscuro, unique camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. Welles's long career in film is noted for his struggle for artistic control in the face of pressure from studios. Many of his films were heavily edited and others left unreleased. He has been praised as a major creative force and as "the ultimate auteur.

find an artist/designer/photographer what they do how they appropriate images/objects?
okay...

Meet Liu Bolin, the real-life Invisible Man from China, an artist with the ability to disappear in any surroundings.

Born in 1973 in Shandong and a graduate of Shandong Art College and Beijing’s Central Academy of Fine Arts, Liu Bolin became popular for his mastery at the art of camouflaging himself against virtually any background.

One single photo takes up to 10 hours to prepare - Liu uses himself as a blank canvas, and with a little help from an assistant, he paints his body to merge as seamlessly as possible with what is behind him. The results are incredible – sometimes passers-by don’t even realize he is around until he moves.

sherrie levine 1991

jake and dions chapman

add insult to injury

ministry of information poster,1939

john lewis disaster advert!!!! (never knowingly undersold)

the msg behind the advert!!
" first sure she likes red!! symbolic thinking , Feminist i would say and the timeline, is it now!!! was it in the past!!! it's seems the idea all happend in one month and she's been spending her life from school,university and graduateda women spending her life btweenliving rooms to kitchens and she's only out on the long road when she's old like its her time to go thanks for been shopping johne lewis all your life!!!  the making: http://www.youtube.com/embed/QBWmxvjPNaQ
Warning!!! As it show’s you clearly on this advert Johan Lewis fridge could make you pregnant!!!!
Fallowing woman’s life from birth to later … later life almost (die soon) its truly emotional epic drama as you want you to feel emotional for the brand plus the 3 goals of this advert witch is (quality, service, price), so the whole idea is to get you emotional and show that John Lewis can stay with you all your life hmmm good quality blaaa blaa blaa!!! But thinking about it made me think more deep about life and that’s sad story goes reminded me of what my mum what used to say about women’s life (every women in the end should end up with a kid and husband, this is women’s life)!!! L …. her mum used to say the same to her too…
And I used to say no way I have a lot of different choices in life!!! But this advert proves it!! It wasn’t my grand mother or my mother it’s the whole world thinks that to!!!! Soooo by finding this advert and feminism I notes the song in the advert saying the opposite talking about a strong passionate women who knows what she wants so I paused for mint and said its all about how they layout things and how they play and invasion minds and make them believe this is good I want to be like this hmmm its all about techniques so was it like this from before so I went back in the 60s, 70s to see what was it like before, then I found thisssss!!!! http://www.youtube.com/watch?v=J8dKSl3YLm0 (A WOMEN’S WORLD IN AUSTRAILIA WOW!!! What is it!!!! A shopping mall!!!!) women’s laughing joking shopping with her friend and go back home to her husband and kids, what a world for women!!!! After all this fights for a women’s rights its still going its just hiding inside the msg so you mind can get in a hypnotised way!!!.

Saul Basse

SAUL BASS (1920-1996) was not only one of the great graphic designers of the mid-20th century but the undisputed master of film title design thanks to his collaborations with Alfred Hitchcock, Otto Preminger and Martin Scorsese.
When the reels of film for Otto Preminger’s controversial new drugs movie, The Man with the Golden Arm, arrived at US movie theatres in 1955, a note was stuck on the cans - "Projectionists – pull curtain before titles".
Until then, the lists of cast and crew members which passed for movie titles were so dull that projectionists only pulled back the curtains to reveal the screen once they’d finished. But Preminger wanted his audience to see The Man with the Golden Arm’s titles as an integral part of the film.
The movie’s theme was the struggle of its hero - a jazz musician played by Frank Sinatra - to overcome his heroin addiction. Designed by the graphic designer Saul Bass the titles featured an animated black paper-cut-out of a heroin addict’s arm. Knowing that the arm was a powerful image of addiction, Bass had chosen it – rather than Frank Sinatra’s famous face - as the symbol of both the movie’s titles and its promotional poster.
That cut-out arm caused a sensation and Saul Bass reinvented the movie title as an art form. By the end of his life, he had created over 50 title sequences for Preminger, Alfred Hitchcock, Stanley Kubrick, John Frankenheimer and Martin Scorsese. Although he later claimed that he found the Man with the Golden Arm sequence "a little disappointing now, because it was so imitated".
Even before he made his cinematic debut, Bass was a celebrated graphic designer. Born in the Bronx district of New York in 1920 to an emigré furrier and his wife, he was a creative child who drew constantly. Bass studied at the Art Students League in New York and Brooklyn College under Gyorgy Kepes, an Hungarian graphic designer who had worked with László Moholy-Nagy in 1930s Berlin and fled with him to the US. Kepes introduced Bass to Moholy’s Bauhaus style and to Russian Constructivism.
After apprenticeships with Manhattan design firms, Bass worked as a freelance graphic designer or "commercial artist" as they were called. Chafing at the creative constraints imposed on him in New York, he moved to Los Angeles in 1946. After freelancing, he opened his own studio in 1950 working mostly in advertising until Preminger invited him to design the poster for his 1954 movie, Carmen Jones. Impressed by the result, Preminger asked Bass to create the film’s title sequence too.
Now over-shadowed by Bass’ later work, Carmen Jones elicited commissions for titles for two 1955 movies: Robert Aldrich’s The Big Knife, and Billy Wilder’s The Seven Year Itch. But it was his next Preminger project, The Man with the Golden Arm, which established Bass as the doyen of film title design.
Over the next decade he honed his skill by creating an animated mini-movie for Mike Todd’s 1956 Around The World In 80 Days and a tearful eye for Preminger’s 1958 Bonjour Tristesse. Blessed with the gift of identifying the one image which symbolised the movie, Bass then recreated it in a strikingly modern style. Martin Scorsese once described his approach as creating: "an emblematic image, instantly recognisable and immediately tied to the film".
In 1958’s Vertigo, his first title sequence for Alfred Hitchcock, Bass shot an extreme close-up of a woman’s face and then her eye before spinning it into a sinister spiral as a bloody red soaks the screen. For his next Hitchcock commission, 1959’s North by Northwest, the credits swoop up and down a grid of vertical and diagonal lines like passengers stepping off elevators. It is only a few minutes after the movie has begun - with Cary Grant stepping out of an elevator - that we realise the grid is actually the façade of a skyscraper.
Equally haunting are the vertical bars sweeping across the screen in a manic, mirrored helter-skelter motif at the beginning of Hitchcock’s 1960 Psycho. This staccato sequence is an inspired symbol of Norman Bates’ fractured psyche. Hitchcock also allowed Bass to work on the film itself, notably on its dramatic highpoint, the famous shower scene with Janet Leigh.
Assisted by his second wife, Elaine, Bass created brilliant titles for other directors - from the animated alley cat in 1961’s Walk on the Wild Side, to the adrenalin-laced motor racing sequence in 1966’s Grand Prix. He then directed a series of shorts culminating in 1968’s Oscar-winning Why Man Creates and finally realised his ambition to direct a feature with 1974’s Phase IV.
When Phase IV flopped, Bass returned to commercial graphic design. His corporate work included devising highly successful corporate identities for United Airlines, AT&T, Minolta, Bell Telephone System and Warner Communications. He also designed the poster for the 1984 Los Angeles Olympic Games.
To younger film directors, Saul Bass was a cinema legend with whom they longed to work. In 1987, he was persuaded to create the titles for James Brooks’ Broadcast News and then for Penny Marshall’s 1988 Big. In 1990, Bass found a new long term collaborator in Martin Scorsese who had grown up with – and idolised - his 1950s and 1960s titles. After 1990’s Goodfellas and 1991’s Cape Fear, Bass created a sequence of blossoming rose petals for Scorcese’s 1993’s The Age of Innocence and a hauntingly macabre one of Robert De Niro falling through the sinister neons of the Las Vegas Strip for the director’s 1995’s Casino to symbolise his character’s descent into hell.
Saul Bass died the next year. His New York Times obituary hailed him as "the minimalist auteur who put a jagged arm in motion in 1955 and created an entire film genre…and elevated it into an art."
http://designmuseum.org/design/saul-bass



Ellen lupton

Ellen Lupton is a writer, curator, and graphic designer. She is director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, where she also serves as director of the Center for Design Thinking. As curator of contemporary design at Cooper-Hewitt, National Design Museum since 1992, she has produced numerous exhibitions and books, including Mechanical Brides: Women and Machines from Home to Office (1993), Mixing Messages: Graphic Design and Contemporary Culture (1996), Letters from the Avant-Garde (1996), and Skin: Surface, Substance + Design (2002).

Her book Thinking with Type (2004) is used by students, designers, and educators worldwide. D.I.Y.: Design It Yourself (2006), co-authored with her graduate students at MICA, explains design processes to a general audience. D.I.Y. Kids (October 2007), co-authored with Julia Lupton, is a design book for children illustrated with kids’ art. The Lupton twins’ latest book is Design Your Life: The Pleasures and Perils of Everyday Things (St Martin’s Griffin, 2009).

Other books include Graphic Design: The New Basics (with Jennifer Cole Phillips, 2008) and Indie Publishing: How to Design and Produce Your Own Book (2008). She is the co-author with Abbott Miller of several books, including The Bathroom, the Kitchen, and the Aesthetics of Waste (1992), Design Writing Research (1996), and Swarm (2006).

Lupton is a 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the U.S.

Ellen Lupton has contributed to various publications, including Print, Eye, I.D., and Metropolis. She has published essays and illustrations in The New York Times. A frequent lecturer around the U.S. and the world, Lupton will speak about design to anyone who will listen.

Other exhibitions she has curated and co-curated include the National Design Triennial series (2000, 2003, 2006, 2010), Feeding Desire: Design and the Tools of the Table, 1500–2005 (2006), Solos: New Design from Israel (2006), and Graphic Design in the Mechanical Age (1999), all at Cooper-Hewitt, National Design Museum.