PORTFOLIO
TABLE OF CONTENTS
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5 CAPSTONE PROJECT
45 PRACTICAL PROJECT
77 REFLECTIVE 5| CAPSTONE SUMMARY
PROJEC
CAPSTONE PROJECT The main project I was working on during the first term was born out of a personal experience at the beginning of my course but grew and changed significantly during the course. I enjoyed very much tha interdisciplinary nature of my project which required me to engage in a broad range of activities: from philosophical reading to fixing screws to the wall. The more I was reading, thinking and experimenting the more pictures were generated in my mind and more relevant things I wanted to create.
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As the capstone project is a final major project, representing an extended self-directed response to a topic which I find interesting as a creative practitioner, it gives me the opportunity to synthesise my previous learning and experience into a defining personal project. I decided to extend my main project from the first term by developing further areas of research and identifying other practices that relate to my developing practice.
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RESEARCH
I went through the Frieze magazines which were available in the University library. I decided to study further works of artists who I liked the most.
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HEINZ MACK
[2] Heinz Mack lives and works in Dusseldorf, Germany, where he experiments with the effects of light and color. Light as his central artistic theme. Mack works across many media — painting, sculpture, drawing, ceramics, and interiors—which use light to explore reflection, movement, and structure. In large-scale, environmental works, Mack has created light rotors, pillars, and columns, such as the columns he placed in the Sahara desert or his “light-and-movement” room for Berlin’s 1970 German Industrial Exhibition.
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GIANNI COLOMBO
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Gianni Colombo was a pioneer of kinetic art. A restless innovator who saw the pictorial plane as less of a reliable convention and more of an unchartered territory. Colombo’s sculptures eschew the decorative in favour of the aesthetic of modernism, while his installations – or “environments”, as they are known – feel strikingly contemporary. The kinetic works, many of which are not switched on continuously in order to conserve their original motors, have the appearance of three-dimensional expressions of the geometric tradition in 20th century art.
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EUN HYE KANG
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Kang creates large-scale geometric installations in architectural spaces. She uses lines as a way to decompose the space. Also, she tries to create negative volume by using achromatic lines. With concepts of division and proportion, she aims to represent abstract shape and contour in the spaces. “All of my work including installation, two-dimensional, and three-dimensional pieces are fundamentally connected to line, the geometrical formative language. The basics of every form around us is a straight line. I imagine invisible things hidden in a space and simplify the inspiration and images that I receive from that space, constructing an image that consists of vertical and horizontal lines. I express visual inferences I draw in the process in the form of installation, drawing, and collage, applying recurring mathematical principles into the work. By these lines, a space is divided, and each space constructs an independent identity and diversity at the same time�. Eun Hye Kang
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EXPERIMENTATION I was especially inspired by the works of Gianni Colombo, Eun Hye Kang and the installations of Gunther Uecker. So decided to create 3D installations and later to photograph them towards making an image. It is a new experience for me and I find it challenging and exciting. I very much liked the idea of creating image as a final outcome. Like this my installation would become secondary to image. My work from 3D will become 2D. It will be a painting but without a brush stroke.
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Studying Heinz Mack helped me a lot with the presentation of my project. He was installing and photographing some of his works in the desert. So I decided to experiment with my books outside of studio space too.
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EXPERIMENTING OUTSIDE WITH DI
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DIFFERENT SHAPES AND LIGHTING
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EXPERIMENTING WITH PHOTOSHOP
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EXPER
ERIMENTING WITH COLOUR
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LARGE SCALE PRINTING IN DIGITAL WORKSHOP
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RESEARCH
When my images were ready for installation in the studio I realised that I wasconfused and really didn’t know what is the right way of presenting my work... My tutor recommended to look into the works and presentation of Donald Judd and Wade Guyton which I found very helpful in order to move to the next stage of my capstone project.
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DONALD JUDD “Actual space is intrinsically more powerful and specific than paint on a flat surface”
Donald Judd
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Donald Judd was an Americ artist associated with minimali (a term he nonetheless striden ly disavowed).In his work, Ju sought autonomy and clarity f the constructed object and t space created by it, ultimate achieving a rigorously democra ic presentation without compos tional hierarchy. It created outpouring of seemingly efferve cent works that defied the te “minimalism”. Nevertheless, he generally considered the leadi international exponent of “minimalism”.
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can ism ntudd for the ely atsian eserm is ing
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WADE GUYTON Wade Guytonis a post-conceptual American artist who among other things makes digital paintings on canvas using scanners and digital inkjet technology.
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EXPERIMENTATION
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OUTCOME I
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OUTCOME II
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CONCLUSION
THE WHAT
THE WHY
THE
My capstone project culminated in two images which look like paintings but are not. They are photographs manipulated by Photoshop. The first photograph was taken in a garden and the second in a studio. The theme is a continuation of my major project of the first semester – visualizing birth & death and life as the bookends and books of a library shelf respectively. Only in the capstone project there are two significant twists: the books are no longer on shelves and, in the second image in particular, they attempt to convey a sense of river-like movement.
At the end of the first semester major project I felt that there was more substance into it which I did not have time to realize. I was troubled by the static and fixed nature of my installation: Books lined up in an orderly manner on shelves fixed to the wall. Since it was all an allegory for our lives, I felt it was time in the second semester to “liberate” my books and bring them closer to nature (hence photography in garden) and accept creative randomness (hence the books no longer “in order”).
Alth numb done aspi are ativ fuel
I was intrigued to attempt to create a painting like image without a single brush stroke.
When ital spac me t ing carp migh ture
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It was a technical challenge which to be met required me to spend plenty of time developing my photography and Photoshop skills. In the end I moved from my 3D installation of the first semester to the 2D images of the capstone project.
For my p ing, Jim Rich age) also floo but due
LIMITATIONS
hough I reviewed a good ber of artists who have e similar work to what I ired to do, I am sure there more out there whose crevity and imagination can l my own.
example, near the end of project, while research, I found the artworks of Lambie (top image) and hard Woods (bottom im). Ideally I would have o liked to fill the entire or space with my artwork this could not be done to time constrains.
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n I was installing my digl prints in the studio ce it became apparent to that it would be interestto convert my work into pets. This is an idea I ht be exploring in the fue.
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PRACTICAL
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“We believe Diversity can e silhouettes our industry cr by age, shape, skin-tone, and normalise difference”
BRIEF You should consider how to communicate and champion diverse body and beauty ideals through innovative fashion communication and design practice under the following categories: Graphic Poster: A3 poster We’re looking for punchy, provocative or impactful statement on diversity. Typographic and/or with accompanying image that works as a call-to-action for All Walks Beyond the Catwalk, the content must offer a unique take on the subject of individuality and appearance. Illustration: 1-2 images We’re looking for you to challenge the boundaries. Most fashion drawings feature an exaggerated, stretched and narrow Caucasian body. Could curvaceous voluptuous bodies or the beauty of older women be showcased in a successful illustration? How would the male body be portrayed? Diversity Rules!
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L PROJECT
enhance Creativity not impede it. Like the multitude of reates, beauty is also individual. It’s not restricted size or body difference. Let’s celebrate inclusivity ” Debra Bourne, Caryn Franklin and Erin O’Connor, Founders - All Walks Beyond the Catwalk
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At the beginning of this project I had in mind to do a garment for curvaceous women from handmade flowers. At first I thought to show her beauty by making her look more attractive. After consultation with my tutor I realised that I had in mind the oversexualised way of presenting curvaceous plus size models. On all photos which I had chosen models were in sexy poses, wearing provocative clothes, red lips etc.. Last but not least, flower itself is a passsive symbol. I had to do more research...
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RESEARCH
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After starting research in another direction, I discovered for myself a totally new way of presenting curvy women. These women on pictures were looking so natural, so different to each other, beautiful, happy and confident. So real! I was very excited and decided to look for other existing campaigns of diverse beauty.
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•
All Woman Project #iamallwoman
• #ImNoAngel - Lane Bryant 67% wear size 14-24 “Plus is Equal” • “Swimsuits for All” evrybody can look beautiful in swimwear • “Go Naked” - photos without Photoshop of real women who work at Lush •
Davids Bridal
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Debenhams 2013
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Dove real beauty campaign
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Mark by Marc Jacobs, Monkiuse ordinary people in their campaigns
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Opinions of ordinary women participating in diversity campaigns
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In parallel to my Internet research I was reading these books. THE MORE I WAS READING AND RESEARCHING, THE MORE I WAS REALISING HOW MUCH DEEPER IS THIS TOPIC THAN JUST TO MAKE CURVY WOMEN LOOK SEXY.
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I started to question
myself:
- HOW WAS BEAUTY DEFINED BACK IN HISTORY? A good way to capture how ideals of beauty have changed through the centuries would be to make a chronologiccally ordered collection of images representing female beauty.
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Every time period has different ideas of what defines beauty. I am more interested in: • Renaissance • Baroque • Impressionism because in these times the curvy women’s bodies were celebrated the most.
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In addition I did some research on women who are ready to have undergo plastic surgeries in order to get the unrealistic face and body of Barbie. By this point I was already inspired to pay closer attention to the masterpiece “Venus of Urbino” (1538) by Titian.
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This celebrated painting defines the beauty of it’s time. So I started to have a vision of how to unite this different kind of research into one outcome.
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EXPERIMENTATION
Imagine if this painting would be a photograph sent to a fashion magazine for publication. It seems to me that editor would send it back to the photographer with a number of Photoshop suggestions in order to reach the required criteria of nowadays beauty standards.
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Colour & Style Enlarge Lift
Tuck Slim Add curve
FIRST OUTCOME: A3 POSTER
Bleach skin
Tan skin Longer legs
Slim Pedicure
After making my first outcome I felt the need to continue my research. I watched the video lecture by Caryn Franklin “Diversity now� and decided to make a mind map with the main points.
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Being a Fine Art student I wanted to express my thoughts and emotions, generated by this study, with a painting/illustration.
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EXPERIMENTING TOWARDS
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S THE FINAL OUTCOME
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SECOND OUTCOME: ILLUSTRATION
This diversity project took me through a personal journey of reevaluation of what it means to be considered a plus size woman. With this illustration I wanted to show that IT IS TIME TO STOP COMPARING OURSELVES TO IMPOSSIBLE STANDARDS OF BEAUTY AND INSTEAD CHOOSE TO LOVE OURSELVES AS WE ARE.
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REAL WOMEN HAVE REAL BODIES. “Let go of who you think you’re supposed to be and embrace who you are” Brené Brown
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CONCLUSION THE WHAT
THE WHY
“Diversity Now� project gave me the opportunity to study in depth the curvaceous plus size beauty. Being classified as plus size myself this has been a very personal project of self-discovery too.
My research helped me to re-e uate and produce a totally ferent outcome than what I in mind at the beginning. I to this project thinking the way for the curvaceous an to become accepted as bea ful in the fashion industry generally in society is to come sexually attractive. tainly there is nothing w with a woman wishing to be s ally attractive, but the fe body needs to be celebrated many other much more impor reasons too.
With the guidance of my tutor, I decided to delve deeper into the idea of beauty through the centuries and into the idea of diverse beauty today. Soon it became apparent that the concept of beauty is dynamic: What was considered beautiful yesterday may not be considered beautiful today and may be again tomorrow. Similarly, what is considered beautiful here (say the Western world) may not be beautiful there (say Asia or Africa). I was heartened to see that over the last few years there has been increased attention to the diversity of beauty as evidenced by a number of advertising campaigns featuring plus size models and ordinary women.
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There has never been a be time than now to stop com ing ourselves to imposs standards of beauty and ins choose to love ourselves a are! We have to apologize to bodies for all the times we been ashamed of them, emb our uniqueness and there the futility of comparing selves to others. This I t to express with my work.
evaldifI had came that womautiy and o beCerwrong sexuemale d for rtant
THE LIMITATIONS Although it was a great opportunity to try myself in a completely different subject within my diploma, my lack of sewing skills limited the range of fashion related work I could produce. I had some ideas for garment creations but could not realise them as I could not sew.
etter mparsible stead as we o our have brace efore ourtried
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What has the Graduate Diploma done for me?
REFLECTIVE SUMMARY I arrived to the Graduate Diploma in Creative Practice (GDCP) without formal previous university education in the arts but with a life long amateurish involvement in all sorts of creative endeavours and plenty of enthusiasm. Furthermore, this was my first exposure to the British education system – my previous studies were in Russia. It is fair to say that GDCP has changed fundamentally the way I see art.
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Before I thought that art, in particular painting which is what I was primarily interested in on arrival at Kingston, was an activity of the hand. I remember, with some embarrassment, that my ambition for the first semester project was to learn to draw perfectly flowers. Luckily with the guidance of my tutor I moved on to something more substantial.
James Richards. Radio at Night (2015). Instalation view, Requests and Antisongs (2016). Photograph by: Kseniia Pantelidakis
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MY WORK AT THE BEG
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EGINNING OF COURSE
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Today I see art as primarily an activity of the mind. An opportunity to express visually and with imagination my thoughts about topics of interest. At the beginning of my time at Kingston due to the personal experience of the death of a relative I was thinking a lot about the topic of “Life and Death” which made an impact on my paintings. I started to research the work of artists who had done work on this topic – Therese Oulton, Cy Twombly, Felix Gonzalez-Torres and Ross Bleckner. I was especially impressed by the artworks of Ross Bleckner and in particular his painting “Birds”.
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Then I moved to reading related philosophical texts and literature – “The Denial of Death” by Becker, E. (2011), “Confession” by Tolstoy, L. (1983), “Remainder” by McCarthy, T. (2015). At some point I came across an article by Jeff Mason titled “Death and its Concept” (The Philosophers’ Magazine online, January 2015) and as soon as I read him referring to birth and death as the bookends of our lives my imagination was unlocked. And so what turned out to be my capstone project started.
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ARTWORKS WHICH
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CH INSPIRED ME
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In a journey of self-analysis and self-discovery as a creative practitioner I started to ask myself: - What would my books shelf look like? - How different could each person’s shelf be? - How would I have liked my shelf to look like? - What do I need to do in order to change my shelf? - Can someone be inspired to change something in their life by thinking in these terms? I very much wanted to find answers to these questions and visualise lives as bookshelves. I started making shelves with books and bookends. Real books, plastic books, cardboard books, wooden shelves, foam shelves, painting books and shelves in all sorts of colours.
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It was the first time I was working on a 3D installation and I thoroughly enjoyed it because it allowed me to develop new skills and expand my artistic horizons. I received constructive feedback from fellow students and tutors. In fact, receiving feedback on my work while it is in the making was a new experience for me.
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Here I was experiencing the creative process – triggers, ideas, research, first outcome, feedback, ‌.final outcome – as opposed to being entirely focused on technically achieving a predetermined outcome. Through the Graduate Diploma I have learnt to appreciate the importance of research and feedback as integral parts of the creative process.
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I was impressed by the amount of freedom and encouragement I was given to create and experiment using all sorts of media. In addition to my capstone installation, I have done painting work for the fashion diversity project. Here I studied the topic of diverse beauty through the centuries. This project shed new light on my understanding of beauty – how I see myself and others. My appreciation of beauty was rather superficial in the beginning but not any more.
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To say that I have come to consider fine art as primarily an activity of the mind and secondarily an activity of the hand is not to say that I see no point in developing a good practical skill set in drawing, painting, Photoshop etc. In fact, many times during the course I missed some skills that would have allowed me to visualise in a more aesthetic and effective way. To develop specific practical skills was one of my main challenges on the course. I am pleased that now, near the end of the course I have developed a solid base of skills (for example Adobe InDesing and Adobe Photoshop). Furthermore, I am very much in agreement with the Kingston School of Art emphasis on “Thinking through Making� and many times I found that during actually making something my ideas and thoughts were developing in tandem.
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At the moment I am developing skills in the studio by creating 3D installations and later photographing them towards making an image. In addition to studio based learning, I have developed an interest in the history and theory of art. There is a lot to be learnt by studying the lives and creations of artists. I recently came across the work of Gunther Uecker and was very impressed by his art and installations in particular. I find the works of Eun Hye Kang and Gianni Colombo very inspiring for my current installation. Currently I am studying the artworks and biography of Jan Fabre and Heinz Mack. Studying Heinz Mack helped me to move to the next level in my capstone project.
Lygia Pape.TtĂŠia 1C 2001/2016). Exhibition view. Hauser & Wirth, London (2016).
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LOOKING AHEAD Throughout the course, I had many moments where my imagination was triggered during reading or while listening to an interesting idea. So, I decided that the best next step for me as an aspiring artist would be in addition to Fine Art to study on a course of psychoanalysis in order to deepen my understanding of human nature and culture and so allow me to visualise the human experience more accurately. My ambition is to become a professional artist who will produce work that will engage audiences but, more importantly perhaps, work which will have something strong and relevant to say about the topics I am concerned with and contributes to wider discussions in contemporary art.
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(1002 words)
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IMAGE REFERENCES [1] Titian (1515) Flora. Oil on canvas, painting: https://en.wikipedia.org/wiki/Flora_(Titian) [2] Edwin Braun (1968). Heinz Mack in front of Lichtstelen in der WĂźste Grand Erg Oriental, Algeria, photograph: https://frieze.com/article/seeing-light-1 [3] Heinz Mack (1967) Kinetik movement (Lammellen-Relief),aluminum, wood: http://www.speronewestwater. com/artists/heinz-mack#1 [4] Heinz Mack (1962). Das Klavierkonzert, polyester resin on untreated canvas: http://www.speronewestwater.com/artists/heinz-mack#5 [5] Photograph of Gianni Colombo: http://www.museum-joanneum.at/fileadmin//user_upload/Neue_Galerie/ Ausstellung/2008/gianni_colombo.jpg [6] Gianni Colombo (1959). Strutturazione pulsante (Pulsating Structuralization), polystyrene foam core and electromechanical animation on wood structure, foam, rubber and metal https://www.artsy.net/artwork/gianni-colombo-strutturazione-pulsante-pulsating-structuralization [7] Gianni Colombo (1974-1975). Bariestesia delle scale, wood, paint and plastic: http://brooklynrail. org/2013/04/artseen/gianni-colombo-or-greene-naftalior-how-i-learned-to-stop-worrying-and-love-the-gallery [8] Eun Hye Kang (2014). Sequence #01, #02, #03 (Left to Right), collage: http://eunhyekang.com/page-drawing-collage-01
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[9] Eun Hye Kang (2014). Sequence #01, collage: https:// frieze.com/article/city-report-seoul-0 [10] Donald Judd (1980). Untitled, prints and multiples, aquatint: http://www.artnet.com/artists/donald-judd/untitled-a-2COgAN0vFR4ETT5DTitqTA2 [11] Donald Judd (2013). Installation view, photograph: http://www.mnuchingallery.com/exhibitions/donald-judd [12] Donald Judd (2005). Exhibition view, photograph: http://www.artnet.com/artists/exhibition-view-ac-NfyJUdwRovt5va5T1zK97Q2 [13] Jamie Dearing (1975). Donald Judd with his work, photograph: http://www.hungertv.com/gallery/49258/1/3/art-reviewdonald-judd/ [14] Photograph of Wade Guyton: https://thefartworld. tumblr.com/post/74744636850/could-a-printer-testpage-destroy-wade-guyton [15] Wade Guyton (2007). Installation view, photograph: http://dailyserving.com/2010/11/why-i-lovewade-guyton/ [16] Wade Guyton. Exhibition view, photograph: http:// greg.org/2011/12/
[17] Wade Guyton (2013). Exhibition view, photograph: https://abstractcritical.com/note/wade-guyton-guytonwalker-kelley-walker/index.html
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[18] Jim Lambie. Tape Floor Installations, photograph: http://www.thisiscolossal.com/2016/06/technicolorrainbow-tape-floor-installations-by-jim-lambie/ [19] Richard Woods (2013). Installation view, photograph: http://www.designboom.com/art/richard-woods-d-i-yexhibition-at-alan-cristea-gallery/ [20] Diversity now. Image : http://www.allwalks.org/ diversitynow-2017/ [21] Diversity now. Image : http://www.allwalks.org/ diversitynow-2017/ [22] Alexandra Gavillet. Image : http://girltalkhq.com/getty-images-has-no-apologies-about-their-campaign-to-revolutionize-body-representation-in-media/ [23] Debenhams lookbook (2013). image: http://www. huffingtonpost.com/2013/04/11/debenhams-look-book-diversity_n_3064148.html [24] Dove real beauty campaign, image: http://www. dove.com/uk/stories/campaigns/be-real.html# [25] Dove real beauty campaign, image: http://www. dove.com/uk/stories/campaigns/be-real.html# [26] #imallwoman project, image: http://techy.ninja/2017/01/26/body-diversity-campaign-by-models-calls-out-the-fashion-industry-inthe-most-beautiful-way/
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[27] Peter Paul Rubens (1614-1615) Venus before the looking-glass, painting: http://www.becomegorgeous.com/fashion-style/fashion_ news/weirdest-fashion-trends-in-history-A12772
[28] Peter Paul Rubens (1600- detail, 1622-1625) The Landing of Maria de’ Medici at Marseille, painting: http://www.becomegorgeous.com/fashion-style/fashion_ news/weirdest-fashion-trends-in-history-A12772 [29] Sandro Botticelli (1483) The Birth of Venus, painting: http://perceptionoffemalebeauty.blogspot. co.uk/2011/05/birth-of-venus-sandro-botticelli-1483_08.html [30] Image of Barbie doll: https://queenlily1.wordpress.com/2015/02/26/sharp-idea-13-be-remarkable/ [31] Image of woman: http://www.elintransigente.com/ mundo/2012/8/8/seria-barbie-carne-hueso-141741.html [32] Lacey Wildd, 46, has had 36 surgeries,image: http://www.dailymail.co.uk/femail/article-2677098/ Plastic-makes-perfect-Mother-six-undergoes-36th-surgery-look-like-extreme-Barbie-doll.html [33] Ross Bleckner (1999). Birds, painting: http:// www.rbleckner.com/images.html?menu=PAINTINGS#398 [34], Félix González-Torres (1991). Untitled (Perfect Lovers), painting: https://www.visualaids.org/ gallery/detail/481 [35] Felix Gonzalez-Torres (1991). Installation view, image: http://felixgonzalez-torresfoundation.org/ [36] Ross Bleckner (2013). Black Monet, oil on linen, painting: http://www.rbleckner.com/images.html?menu=PAINTINGS
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BIBLIOGRAPHY Part I-BOOK
CAPSTONE PROJECT • Carey, J. (2006). What Good Are The Arts? New York: Oxford University Press Inc. • De Botton, A., Armstrong, J. (2016). Art as Therapy. London: Phaidon Press. • Finger, B., Weidemann, C. (2016). 50 contemporary artists you should know. Munich: Prestel. • Perry, G. (2016). Playing to the Gallery. London: Penguin Books. • Ward, O. (2016). Ways of looking how to experience contemporary art. London: Laurence King Publishing Ltd. • Williams, G. (2014). How to Write About Contemporary Art. London: Thames and Hudson Ltd. • Wilson, K. (2015). Drawing and Painting Materials and Techniques for Contemporary Artists. London: Thames & Hudson Ltd.
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PRACTICAL P • Brown, B. (2010).
fection. Minnesota:
• Dore, G. (2015). L
don: Simon & Schust
• Orbach, S. (2016). file books Ltd.
• Orbach, S. (2016)
Issue. London: Peng
• Pine, K.J. (2014). Kindle Edition.
KS
PROJECT The gifts of Imper-
: Hazelden.
Love Style Life. Lon-
ter UK Ltd.
REFLECTIVE SUMMARY • Danchev, A. (2011). 100 Artists’ Manifestos. London: Penguin Classics. • Dubberly, H. (2004). How Do You Design? A Compendium of Models. San Francisco, CA: Dubberly Design Office.
. Bodies. London: Pro-
• Kleon, A. (2012). Steal Like An Artist. New York: Workman Publishing Company, Inc.
). Fat Is A Feminist
• Williams, K., Woolliams, M. and Spiro, J. (2012). Reflective writing. New York: Palgrave Macmillan.
guin Random House UK.
. Mind What You Wear.
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BIBLIOGRAPHY Part II-INT CAPSTONE PROJECT
PRACTICAL P
• https://frieze.com/editorial
• http://www.allwalks
• https://www.artsy.net/artist/heinz-mack
• http://www.dove.c
• http://www.mack-kunst.com/en/Biography. htm
paigns.html#
• http://www.allwoman
• http://www.aestheticamagazine.com/re-
• h t t p : / / w w w . a d w e
view-of-gianni-colombo-the-body-and-
ty/lane-bryant-ba
the-space-1959-1980-robilant-voena/
cret-im-no-angel-ca
• http://eunhyekang.com/artist-statement/ • https://en.wikipedia.org/wiki/Donald_ Judd • h t t p : / / w w w . a z q u o t e s . c o m / a u thor/28606-Donald_Judd • https://en.wikipedia.org/wiki/Wade_Guyton • https://www.themoderninstitute.com/artists/jim-lambie/
• h t t p : / / t h e p l u s s i
co.uk/2014/12/eybs-
• http://www.allday.c
ards-have-changed ry-2180781748.html
• h t t p : / / e v o s c i e n c
cept-women-beauty-c • https://www.buzzf
womens-ideal-body-t
tory?utm_term=.htd0
• http://greatist.com ens-body-image
• http://runwayriot.c
women-in-impression
pected-road-to-see tiful/
• https://www.youtub
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BrKCPWw
TERNET SOURCES
PROJECT
s.org/
com/uk/stories/cam-
REFLECTIVE SUMMARY • http://www.eyemagazine.com/feature/article/first-things-first-manifesto-2000 • http://www.iconeye.com/404/itemlist/
nproject.com/
eek.com/creativi-
ashes-victorias-se-
ampaign-163944/
izelife.blogspot.
category/534-manifestos?limitstart=0 • h t t p s : / / w w w . v i t s o e . c o m / g b / a b o u t / good-design • http://makerfaireafrica.com/maker-manifes
-babe-army.html
com/how-beauty-stand-
d-throughout-histo-
ce.com/beauty/con-
centuries/ eed.com/eugeneyang/
types-throughout-his-
0vmdk2#.rvMqJbpwD
m/grow/100-years-wom-
com/2016/04/13/curvy-
nist-art-was-my-unex-
eing-my-body-as-beau-
be.com/watch?v=m0Gk-
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