The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.
Here’s an excerpt:
A New York City subway train holds 1,200 people. This blog was viewed about 3,900 times in 2013. If it were a NYC subway train, it would take about 3 trips to carry that many people.
BREAKING BAD, PROPS, TV & FILM
[M]aking Bad – Skull Boots Tips
AUGUST 9, 2013BREVARDDESIGNBOOT TIPS, BOOTS, BREAKING BAD, BREVARD, COUSINS, DANIEL MONCADA, KEITH RICHARDS, LUIS MONCADA, NO MAS, SEASON 3, SILVER, SKULL, STERLING, VINCE GILLIAN 3 COMMENTS
Episode Title: BREAKING BAD, PROPS, TV & FILM
[M]aking Bad – Skull Boots Tips
AUGUST 9, 2013BREVARDDESIGNBOOT TIPS, BOOTS, BREAKING BAD, BREVARD, COUSINS, DANIEL MONCADA, KEITH RICHARDS, LUIS MONCADA, NO MAS, SEASON 3, SILVER, SKULL, STERLING, VINCE GILLIAN 3 COMMENTS
Episode Title: ”No Más”
Original Air Date: March 21, 2010
Sterling Silver, boot tips for “The Cousins” shown here on the white boots before they were dyed. Bryan communicated with Vince Gilligan throughout the process of modeling the skull on these tips, with the original inspiration being Keith Richards’ signature skull ring. Oxidation of the silver highlights the details and gives the skulls their depth.
The Cousins wearing boots with skull boot tips
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Original Air Date: March 21, 2010
Sterling Silver, boot tips for “The Cousins” shown here on the white boots before they were dyed. Bryan communicated with Vince Gilligan throughout the process of modeling the skull on these tips, with the original inspiration being Keith Richards’ signature skull ring. Oxidation of the silver highlights the details and gives the skulls their depth.
The Cousins wearing boots with skull boot tips
Talking and writing about design: it’s what this course is all about. Combining history and theory with business skills and applied practice, BA (Hons) Design Cultures will give you an understanding of design history, global cultures and ethics and sustainability. You’ll also explore how you can use design to create positive change.
Design Cultures in the city, Frieze Art Fair Regents Park 2012
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‘..an ever always changing, cav, cav, cavor, cavorting carousel, that documents the transitory lives that pass, pass, pass, through our crystalline worlds.’
The young man at the beginning of Andrei Tarkovsky’s The Mirror stammers and stutters, and then learns not to.
However far I try and get away from ‘Grey Gardens’ it still tugs me back to ‘Tea for Two’. Just tea for two and two for tea Just me for you Just tea for two and two for tea Just me for you.
Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories.
120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble: New York, London, Venice, Iquitos, Ocho Rios.
Consisting of old SLR film cameras and LED spotlights each of the 120 ‘projectors’ throws out images of people, events and the fabric surrounding wherever it is exhibited. A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation/site. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources.
The projectors can be clumped together in one location or be spread around different locales as needs be. The audience is enveloped in and disrupts this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable, as they will depict places just passed through on the way to the exhibition site.
The End The End To be continued…..
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The Universal Addressability of Dumb Things
Cyberman with Gargoyle
Cyberman Helmet, 1985, Courtesy Chris Balcombe, Photo: Chris Balcombe
Singing Gargoyle, England, c. 1200, Courtesy of Sam Fogg, London
Curated by Mark Leckey
Turner Prize-winning artist Mark Leckey has curated an exhibition that explores the magical world of new technology, as well as tracing its connections to the beliefs of our distant past.
Historical and contemporary works of art, videos, machines, archaeological artefacts and iconic objects, like the giant inflatable cartoon figure of Felix the Cat – the first image ever transmitted on TV – inhabit an “enchanted landscape” created in the Pavilion’s galleries, where objects seem to be communicating with each other and with us.
In Leckey’s exhibition “magic is literally in the air.” It reflects on a world where technology can bring inanimate “things” to life. Where websites predict what we want, we can ask our mobile phones for directions and smart fridges suggest recipes, count calories and even switch on the oven. By digitising objects, it can also make them “disappear” from the material world, re-emerging in any place or era.
In this timeless exhibition, “the real and the virtual co-exist”, Leckey has said. Perhaps technology has created its own form of consciousness – an animistic future. While we already live in the realms of what used to be science fiction, we seem to have simultaneously gone back to our ancestral past – a time when ancient civilisations believed spirits inhabited plants, animals, geographic features and even objects.
Leckey’s theatre of “things” is presented in specially designed environments. Works by artists such as William Blake, Louise Bourgeois, Martin Creed, Richard Hamilton, Nicola Hicks, Jim Shaw and Tøyen are displayed alongside a medieval silver hand containing the bones of a saint, an electronic prosthetic hand that connects with Bluetooth, a bisected 3D model of Snoopy showing his internal organs, and many other treasures that all share connections. Loosely divided into four themes or scenes – the Vegetable World, Animal Kingdom, Mankind and the Technological Domain, Leckey’s exhibition is a collection of not-so-dumb things that all talk, literally or metaphorically, to each other.
Mark Leckey was born in Birkenhead in 1964. He currently teaches at Goldsmiths College, University of London. In 2008 he won the Turner Prize. Recent solo exhibitions include Work & Leisure at Manchester Art Gallery (2012), and See We Assemble at the Serpentine Gallery, London (2011). The Universal Addressability of Dumb Things is the latest in a series of artist-curated Hayward Touring exhibitions.
‘The status of objects’, Leckey argues, ‘is changing, and we are once again in thrall to an enchanted world full of transformations and correspondences, a wonderful instability between things animate and inanimate, animal and human, mental and material’. Our hyper-rationalism of modern technology has paradoxically produced its opposite, an ‘irrational’ magical realm – or as Marshall McLuhan, communication theorist, described “a resonating world akin to the old tribal echo chamber where magic will live again”.
A Hayward Touring exhibition from Southbank Centre, London
Woofer Design by Sander Mulder
© Sander Mulder
De La Warr Pavilion
Marina
Bexhill On Sea
East Sussex
TN40 1DP
Box Office and information:
01424 229 111 or boxoffice@dlwp.com
Sat 13 Jul 2013-
Sun 20 Oct 2013
Tickets: Free entry
Booking & Information:
01424 229 111
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Mark Ingham 