Do you know the history behind delicious Campbell Soup?

In 1960, Andy Warhol began producing his first canvases, which he based on comic strip subjects. In late 1961, he learned the process of silkscreening from Floriano Vecchi who had run the Tiber Press since 1953. Though the process generally begins with a stencil drawing, it often evolves from a blown up photograph which is then transferred with glue onto silk. In either case, one needs to produce a glue-based version of a positive two-dimensional image (positive means that open spaces are left where the paint will appear). Usually, the ink is rolled across the medium so that it passes through the silk and not the glue. Campbell’s Soup cans were among Warhol's first silkscreen productions; the first were U.S. dollar bills. The pieces were made from stencils; one for each color. Warhol did not begin to convert photographs to silkscreens until after the original series of Campbell’s Soup cans had been produced.


Although Warhol had produced silkscreens of comic strips and of other pop art subjects, he supposedly relegated himself to soup cans as a subject at the time to avoid competing with the more finished style of comics by Roy Lichtenstein. In fact, he once said "I've got to do something that really will have a lot of impact that will be different enough from Lichtenstein and James Rosenquist, that will be very personal, that won't look like I'm doing exactly what they're doing." In February 1962, Lichtenstein displayed at a sold-out exhibition of cartoon pictures at Leo Castelli's eponymous Leo Castelli Gallery, ending the possibility of Warhol exhibiting his own cartoon paintings. In fact, Castelli had visited Warhol's gallery in 1961 and said that the work he saw there was too similar to Lichtenstein's, although Warhol's and Lichtenstein’s comic artwork differed in subject and techniques (e.g., Warhol’s comic-strip figures were humorous pop culture caricatures such as Popeye, while Lichtenstein’s were generally of stereotypical hero and heroines,inspired by comic strips devoted to adventure and romance). Castelli chose not to represent both artists at that time, but he would, in 1964, exhibit Warhol works such as reproductions of Campbell's Juice Boxes (pictured below right) and Brillo Soap Boxes. He would again exhibit Warhol's work in 1966. Lichtenstein's 1962 show was quickly followed by Wayne Thiebaud’s April 17, 1962 one man show at the Allan Stone Gallery featuring all-American foods, which agitated Warhol as he felt it jeopardized his own food-related soup can works. Warhol was considering returning to the Bodley gallery, but the Bodley's director did not like his pop art works. In 1961, Warhol was offered a three-man show by Allan Stone at the latter's 18 East 82nd Street Gallery with Rosenquist and Robert Indiana, but all three were insulted by this proposition.


Irving Blum was the first dealer to show Warhol’s soup can paintings. Blum happened to be visiting Warhol in May 1962, at a time when Warhol was being featured in a May 11, 1962 Time Magazine article "The Slice-of-Cake School" (that included a portion of Warhol's silkscreened 200 One Dollar Bills), along with Lichtenstein, Rosenquist, and Wayne Thiebaud. Warhol was the only artist whose photograph actually appeared in the article, which is indicative of his knack for manipulating the mass media. Blum saw dozens of Campbell’s Soup can variations, including a grid of One-Hundred Soup Cans that day. Blum was shocked that Warhol had no gallery arrangement and offered him a July show at the Ferus Gallery in Los Angeles. This would be Warhol’s first one man show of his pop art. Warhol was assured by Blum that the newly founded Artforum magazine, which had an office above the gallery, would cover the show. Not only was the show Warhol's first solo gallery exhibit, but it was considered to be the West Coast premiere of pop art.


Article Source : http://en.wikipedia.org/wiki/Campbell's_Soup_Cans


Adakah anda tahu sejarah di sebalik penciptaan sebuah komputer?



Capaian ke laman-laman yang berkaitan

1. Sejarah komputer:
a) Sejarah 1
b) Sejarah 2

2. Siapakah bapa komputer?

3.
Kronologi Sejarah Mikrokomputer

4. Sejarah Virus Komputer
a) Sejarah
b) Computer Virus Timeline

5. Computer Timeline
a) Timeline 1
b) Timeline 2

6. Computer Mouse History


Do you remembered Memphis?



exhibition at the design museum, london contemporary design gallery 7 september – 4 november 2001 and 24 november 2001 – 27 january 2002

The design museum marks the 20th anniversary of the debut of memphis, the legendary italian design collective led by the milanese designer and architect ettore sottsass.

Memphis was a landmark in design history. Sottsass called memphis design the new international style and plunged the sophisticated and influential milan design world into a labyrinth of visual irony, puns and provocations. The standards of 'good form' design that had been considered unassailable for years lost their claim to timeless validity for sottsass and his fellow-workers. the idea they had in common was to eliminate the peaceful conformity of furniture design and present concrete alternatives to the late 70s standard formal culture.

The playful colours, cheap materials and kitsch motifs of the furniture, ceramics and glassware unveiled by memphis designers at the 1981 milan furniture fair split the design world and caused a media sensation after years of drab rationalism.

Lots of brightly coloured, neo-1950s plastic laminates covering everything from crazy sideboards to bonkers beds. Was this gimcrack stuff really so influential? Had the brown-and-orange 1970s been so boring that product design had to descend into these cartoon capers? It was about turning the design world upside down.

The ideas of the memphis collective were embraced by design students of the time: memphis was the major influence on philippe starck, jasper morrison and marc newson...

Nathalie du Pasquier, one of the memphis team, describes it as 'a way of life, of transferring into the world of the western home the culture of rock music, travel and a certain excess'.

Jasper Morrison says: 'it was the weirdest feeling - you were in one sense repulsed by the objects, but also freed by this sort of total rule-breaking. I came back to college and immediately
did my one and only memphis piece (which hopefully has now disappeared forever).'

Memphis pieces were snapped up by international collectors such as paris based fashion designer, karl lagerfeld, he says: ' it was love at first sight. I'd just got an apartment in Monte Carlo and I could only imagine it in memphis. now it seems very 1980s, but the mood will come back. the pretensions of minimalism made it difficult for memphis in the 1990s, but I think sottsass is one of the design geniuses of the 20th century.'

Many designers still talk of memphis in the way that rock musicians of the same age speak of the clash and blondie. even the first Memphis exhibition opening in 1981attained the same iconic status in design circles as the sex pistols’ debut gig in music.

Ettore Sottsass himself :

'I'm always offended when they say that I play when I do memphis work; actually I 'm very serious, I'm never more serious than when I do memphis work. It's when I design machines for olivetti that I play.'and ' we draw our product-language stimuli not so much from institutionalized culture, not from technology, not from some sort of institutionalized certainty, but from spheres where everything starts afresh again, is uncertain, contradictory, without firm outlines.'

This exhibition recaptures the vitality of the work of sottsass, branzi, cibic, mendini, thun, de lucchi and the rest of the memphis collective at a time of growing interest in early 1980s aesthetics. As well as displaying many original pieces of memphis furniture, ceramics, lighting and glassware, 'memphis remembered' analyses the movement’s enduring influence over contemporary designers.

Links:
1) Who is Ettore Sottsass?
2)
Other Ettore Sottsass designs
3) Powerpoint about Memphis (Author S.Smith)

Article Source : http://www.designboom.com/eng/funclub/memphisremember.html



Pelajar-pelajar Washington State University (WSU) Amerika Syarikat (AS) baru-baru ini telah mencipta sejenis alat yang mungkin akan digemari oleh kanak-kanak yang suka merosakkan atau memecahkan permainan mereka.

'Breakinator' iaitu sebuah mesin yang berfungsi untuk memecahkan peralatan kepada bahagian-bahagian yang lebih kecil, diperkenalkan baru-baru ini pada pameran sains keluarga yang diadakan di Pusat Pengembaraan Sains Palouse, Amerika Syarikat.

Mesin tersebut telah direkacipta oleh pelajar sains material WSU dengan matlamat untuk mewujudkan kesedaran yang lebih baik berkenaan lapangan sains bahan. Ia dicipta untuk menjadikan aktiviti memusnahkan barang lebih jelas dan pengguna boleh membayangkan serta membuat perbandingan secara mikroskopik di antara bahan-bahan yang telah dipecahkan.

"Di bahagian timur Washington, ramai pelajar yang berminat dalam bidang kejuruteraan tidak didedahkan dengan kejuruteraan sains material di sekolah mereka menyebabkan negara kehilangan pelapis yang berpotensi di dalam bidang tersebut," demikian menurut pelajar-pelajar tersebut.

Bagi melengkapkan projek itu, pelajar terbabit telah memohon geran sebanyak RM2,000 daripada ASM Antarabangsa iaitu sebuah badan kebajikan profesional dalam bidang sains bahan.

Kumpulan tersebut merupakan satu-satunya kumpulan daripada lima kumpulan di negara tersebut yang mendapat anugerah pada pameran berkenaan.

Nota : Adakah mesin ini lebih banyak memberi manfaat atau keburukan ?
Sumber artikel : http://www.johordt.gov.my/sainsteknologi/files/arkib.htm



Kebanyakan mentol lampu hari ini diperbuat daripada kaca dan logam. Mentol tersebut diperbuat daripada kaca, yang diisi dengan gas lengai, biasanya argon.

Di tengah-tengah mentol, sekeping filamen akan di pegang oleh lapisan logam. Filamen tersebut diperbuat daripada logam tungsten yang boleh menahan suhu yang sangat tinggi lantas menghasilkan cahaya.

Sebelum Thomas Alva Edison (klik untuk lihat video ucapannya tentang penciptaan mentol) mencipta mentol lampu pada tahun 1879, beliau menghabiskan masa selama dua tahun untuk mengenalpasti apakah bahan yang paling sesuai dijadikan filamen. Antara bahan yang telah digunakan oleh beliau termasuklah, straw minuman, tali tangsi, kayu, malah rambutnya sendiri. Akhirnya beliau menggunakan benang karbon sebagai filamen.

Mentol lampu selepas itu menggunakan logam sebagai filamen.

Nota : Cuba anda bayangkan dunia anda ketika ini jika tiada sebarang penemuan tentang lampu elektrik.....
Sumber artikel : http://www.johordt.gov.my/sainsteknologi/files/arkib.htm


Adakah anda tahu bagaimana kanta lekap dicipta?


Idea untuk mencipta sebuah kanta kecil yang boleh digunakan di mata telah difikirkan oleh para saintis dan bijak pandai sejak kurun ke-16. Ia sebenarnya merupakan buah fikiran artis terkenal Itali, Leornado da Vinci. Beliau melukis model sebuah alat berisi air yang dipakai dan digunakan di mata untuk memperbaiki penglihatan seseorang.

Kanta lekap yang pertama dicipta pada tahun 1880 oleh seorang saintis Switzerland bernama A. Eugene Fick. Kanta beliau dicipta menggunakan teknik tiupan dan memenuhi keseluruhan mata pemakainya.


Ia hanya boleh dipakai beberapa jam sehari kerana ia sangat tidak selesa. Pada tahun 1947, seorang warga Amerika Syarikat bernama Kevin Touhy mencipta kanta diperbuat daripada plastik yang hanya menutup bahagian kornea mata.

Nota : Yang mana anda lebih suka; menggunakan kanta lekap atau kaca mata? Kenapa?
Sumber artikel : http://www.johordt.gov.my/sainsteknologi/files/arkib.htm


Do you know history of Pop Art?



Abbreviation of Popular Art, the Pop Art movement used common everyday objects to portray elements of popular culture, primarily images in advertising and television. The term Pop art was first used by English critic, Lawrence Alloway in 1958 in an edition of Architectural Digest. He was describing all post-war work centered on consumerism and materialism, and that rejected the psychological allusions of Abstract Expressionism. An attempt to bring art back into American daily life, it rejected abstract painting because of its sophisticated and elite nature. Pop Art shattered the divide between the commercial arts and the fine arts. The Pop Art movement originated in England in the 1950s and traveled overseas to the United States during the 1960s. Richard Hamilton and Eduardo Paolozzi, both members of the Independent Group, pioneered the movement in London in the 1950s. In the 1960s, the movement was carried by Peter Blake, Patrick Caulfield, David Hockney, Allen Jones, and Peter Phillips. In the early sixties, Pop art found its way to the United States, seen in the work of Jim Dine, Roy Lichtenstein, and Robert Rauschenberg. It developed in the United States as a response to the wealth of the post World War II era and the growing materialism and consumerism in society. The most recognized Pop Artist, Andy Warhol, used a photo-realistic, mass production printmaking technique called seriagraphy to produce his commentaries on media, fame, and advertising. Pop Art made commentary on contemporary society and culture, particularly consumerism, by using popular images and icons and incorporating and re-defining them in the art world. Often subjects were derived from advertising and product packaging, celebrities, and comic strips. The images are presented with a combination of humor, criticism and irony. In doing this, the movement put art into terms of everyday, contemporary life. It also helped to decrease the gap between "high art" and "low art" and eliminated the distinction between fine art and commercial art methods. The movement inspired a later related style named Capitalist Realism, led by German artist Gerhard Richter.

Pop Art in United States

Temporally, the British pop art movement predated the American; however, American pop art has its own origins separate from British pop art. During the 1920s American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings prefiguring the pop art movement that contained pop culture imagery such as mundane objects culled from American commercial products and advertising design.

Pop Art in Spain

In Spain, the study of pop art is associated with the "new figurative." which arose from the roots of the crisis of informalism. Eduardo Arroyomass media communication and the history of painting, and his scorn for nearly all established artistic styles. However, the Spaniard who could be considered the most authentically “pop” artist is Alfredo Alcaín, because of the use he makes of popular images and empty spaces in his compositions. Also in the category of Spanish pop art is the “Chronicle Team” (El Equipo Crónica), which existed in ValenciaManolo Valdés and Rafael Solbes. Their movement can be characterized as pop because of its use of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodovar emerged from Madrid's "La Movida" subculture (1970s) making low budget super 8 pop art movies and was subsequently called the Andy Warhol of Spain by the media at the time. In the book "Almodovar on Almodovar" he is quoted saying that the 1950s film "Funny Face" is a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake commercial to be inserted into a scene.

Pop Art in Japan

Pop art in Japan is unique and identifiable as Japanese because of the regular subjects and styles. Many Japanese pop artists take inspiration largely from anime, and sometimes ukiyo-e and traditional Japanese art. The best-known pop artist currently in Japan is Takashi Murakami, whose group of artists, Kaikai Kiki, is world-renowned for their own mass-produced but highly abstract and unique superflat art movement, a surrealist, post-modern movement whose inspiration comes mainly from anime and Japanese street culture, is mostly aimed at youth in Japan, and has made a large cultural impact. Some artists in Japan, like Yoshitomo Nara, are famous for their graffiti-inspired art, and some, such as Murakami, are famous for mass-produced plastic or polymer figurines. Many pop artists in Japan use surreal or obscene, shocking images in their art, taken from Japanese hentai. This element of the art catches the eye of viewers young and old, and is extremely thought-provoking, but is not taken as offensive in Japan. A common metaphor used in Japanese pop art is the innocence and vulnerability of children and youth. Artists like Nara and Aya Takano use children as a subject in almost all of their art. While Nara creates scenes of anger or rebellion through children, Takano communicates the innocence of children by portraying nude girls.

More article about Pop Art:
1) Artikel 1
2) Artikel 2
3) Question and Answer about Pop Art


See videos about Pop Art :

1) Videos 1
2) Videos 2
3) Videos 3
2) Videos 4


Article sources :
1) http://wwar.com/masters/movements/pop_art.html
2) http://en.wikipedia.org/wiki/Pop_art


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