Archetypes and Assemblage by alana hampton

Archetypal Identities + Symbolism!

ar路che路type (盲rk-tp)! 1. An original model or type after which other similar things are patterned; a prototype: "'Frankenstein' . . . 'Dracula' . . . 'Dr. Jekyll and Mr. Hyde' . . . the archetypes that have influenced all subsequent horror stories" (New York Times).! 2. An ideal example of a type; quintessence: an archetype of the successful entrepreneur.! 3. In Jungian psychology, an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious.!

think with your instincts

the Psychological Roots of ARCHETYPES! Deep origins! A notable characteristic of Carl Jung's archetypes is that we recognize them in image and emotion. This gives a profound effects on us and implies that they have deep and primitive origins. They thus have a particular potential for significance and may be feared or revered as mysterious signifiers of things beyond our complete understanding.! In earlier work, Jung linked the archetypes to heredity and considered them as instinctual. Yet wherever he looked across cultures, he found the same archetypes and thus came to conceptualize them as fundamental forces that somehow exist beyond us. They have existed in ancient myths as elemental spirits and Jung sought to link with this deep and old experience.! See also! Jung, C.G. (1964). Man and His Symbols, New York; Doubleday and Company, Inc.! More information Here: http://changingminds.org/explanations/identity/jung_archetypes.htm !

Some other links - http://natureofpersonality.com/homepage.html ! This link http://issuu.com/portsafe/docs/arch_bk1 takes you to Katie Altham s website where you will find an online copy of her book â&#x20AC;&#x201C; here, you can make a more informed decision about your archetype(s) ! http://www.youtube.com/watch?v=_U3yPu9_5fg !

There are hundreds of archetypes! - these are a few â&#x20AC;Ś!

The archetype with which you resonate, gives you clues as to your personal aesthetic ie, those things/images/feelings etc that attract or repel you â&#x20AC;Ś !

Activity! Paste this into your visual diary and find one with which you identify and one that feels least like you!

Jung's main archetypes are not 'types' in the way that each person may be classified as one or the other. Rather, ! we each have all basic archetypes within us. He listed four main forms of archetypes:! * * * *

The The The The

Shadow! Anima! Animus! Self!

The Shadow! The Shadow is a very common archetype that reflects deeper elements of our psyche, where 'latent dispositions' which are ! common to us all arise. It also reflects something that was once split from us in early management of the objects in our ! lives.! It is, by its name, dark, shadowy, unknown and potentially troubling. It embodies chaos and wildness of character. The ! shadow thus tends not to obey rules, and in doing so may discover new lands or plunge things into chaos and battle. ! It has a sense of the exotic and can be disturbingly fascinating. In myth, it appears as the wild man, spider-people, ! mysterious fighters and dark enemies.! We may see the shadow in others and, if we dare, know it in ourselves. Mostly, however, we deny it in ourselves and ! project it onto others. It can also have a life of its own, as the Other. A powerful goal that some undertake is to ! re-integrate the shadow, the dark side, and the light of the 'real' self. If this can be done effectively, then we can ! become 'whole' once again, bringing together that which was once split from us.! Our shadow may appear in dreams, hallucinations and musings, often as something or someone who is bad, fearsome or ! despicable in some way. It may seduce through false friendship or threaten with callous disregard. Encounters with it, ! as an aspect of the subconscious, may reveal deeper thoughts and fears. It may also take over direct physical action ! when the person is confused, dazed or drugged.!

The Anima and Animus! The second most prevalent pattern is that of the Anima (male), Animus (female), or, more simply, the Soul, and is the route to ! communication with the collective unconscious. The anima/animus represents our true self, as opposed to the masks we wear ! every day and is the source of our creativity.! The anima/animus may appear as someone exotic or unusual in some way, perhaps with amazing skills and powers. In fiction, ! heroes, super-heroes and gods may represent these powerful beings and awaken in us the sense of omnipotence that we knew ! in that very early neonatal phase.!

Anima and animus are male and female principles that represent this deep difference. Whilst men have an fundamental anima ! and women an animus, each may also have the other, just as men have a feminine side and women a masculine. Jung saw men as ! having one dominant anima, contributed to by female members of his family, whilst women have a more complex, variable animus, ! perhaps made of several parts.! Jung theorized the development of the anima/animus as beginning with infant projection onto the mother, then projecting onto ! prospective partners until a lasting relationship can be found.! The Syzygy (the divine couple)! In combination, the anima and animus are known as syzygy (a word also used to denote alignment of planets), representing ! wholeness and completion. This combining brings great power and can be found in religious combinations such as the Christian ! Holy Trinity (Father, Son and Holy ghost).! A perfect partnership between man and woman can occur when not only are our physical forms compatible but also the anima ! and animus. Thus you might find your soul-mate. Finding our matching other half is a lifetime of search for many of us, and ! few of us succeed in this quest. Love of another indicates an actual, perceived or hoped-for close match.! The Self! For Jung, the self is not just 'me' but God. It is the spirit that connects and is part of the universe. It is the coherent whole ! that unifies both consciousness and unconsciousness. It may be found elsewhere in such principles as nirvana and ecstatic ! harmony. It is perhaps what Jaques Lacan called 'the real'.! Jung described creation of the self as a process of individuation, where all aspects are brought together as one. ! Thus 're-birth' is returning to the wholeness of birth, before we start to split our selves into many parts.! Other archetypes! Jung said that there are a large number of archetypes. These are often linked to the main archetypes and may represent ! aspects of them. They also overlap and many can appear in the same person. For example:! * Family archetypes! o The father: Stern, powerful, controlling! o The mother: Feeding, nurturing, soothing! o The child: Birth, beginnings, salvation! * Story archetypes! o The hero: Rescuer, champion! o The maiden: Purity, desire! o The wise old man: Knowledge, guidance! o The magician: Mysterious, powerful! o The earth mother: Nature! o The witch or sorceress: Dangerous! o The trickster: Deceiving, hidden! * Animal archetypes! o The faithful dog: Unquestioning loyalty! o The enduring horse: Never giving up! o The devious cat: Self-serving!

Venus de Willendorf An Ancient Archetypal Sculpture Venus of Willendorf c. 24,000-22,000 BCE Oolitic limestone 43/8 inches (11.1 cm) high (Naturhistorisches Museum, Vienna)

An example of the feminine archetype or GREAT MOTHER from 24,000-22,000 BCE The feminine has been represented: as goddess, monster, gate, pillar, tree, moon, sun, vessel, and every animal from snake to bird. When first discovered the Venus of Willendorf was thought to date to approximately 15,000 to 10,000 BCE, or more or less to the same period as the cave paintings at Lascaux in France. In the 1970s the date was revised back to 25,000-20,000 BCE, and then in the 1980s it was revised again to c. 30,000-25,000 BCE. A study published in 1990 of the stratigraphic sequence of the nine superimposed archaeological layers comprising the Willendorf deposit, however, now indicates a date for the Venus of Willendorf of around 24,000-22,000 BCE.

Emotional Analogues! Analogues comes from Analogy â&#x20AC;Ś meaning a similarity in some respects between things that are otherwise dissimilar

admiration

desire

exhilaration

impatience

relief

despair

expectation

indifference

remorse

desperation

fascination

indignation

resentment

determination

fear

infatuation

respect

disappointment

frustration

jealousy

revenge

anticipation

disbelief

greed

joy

serenity

anxiety

disgust

grief

loneliness

shame

disillusionment

guilt

lust

shock

eagerness

hatred

mischief

sorrow

embarrassment

hope

panic

suspicion

enthusiasm

hopelessness

pity

sympathy

contempt

envy

horror

pride

terror

curiosity

exaltation

humiliation

rage

love

defiance

exasperation

hysteria

regret

confusion

adoration amazement ambition

Activities 1. Examine the words listed in the table of emotional traits. 2. In your visual diary, shade in boxes from the table to indicate your dominant emotional traits - at least 3

anger

awe bewilderment

These are by no means exhaustive so please add your own

boredom compassion

3. Each of these emotions will have a visual analogue specific to your experience; eg Joy may be represented as bright, vibrant yellow or iridescent pink â&#x20AC;Ś it is up to your interpretation, Anger as heavy dark grey. This can be taken further to include the style, direction, pressure etc of the mark that you use to represent the emotion. Make visual analogues of your emotional traits without drawing representational pictures of the emotions. 4. Explore these in as many different ways as possible using visual notes in your visual diary to create a vocabulary of analogous marks best suited to your picture of self

sadness

Found Objects, Costumes + Archetypes

Nick Cave makes costumes â&#x20AC;Ś with a difference. Examine the materials and visual language of his assembled costumes and identify some of the possible archetypes in each. Nick Cave s Sound Suits We have a book of Caves work in the artroom. http://thescienceofdesign.blogspot.com.au/2009/11/nick-cave.html

Activity: research Cave and the following artists! Identify the Archetypes present by exploring their! ! materials, visual language and symbolism!

Found Objects, Costumes + Archetypes

The Collector (left)! (above) Refuge by Nina Saunders, taxidermy fox, upholstered armchair (detail right)!

http://www.ninasaunders.eu/ninasaunderscur.html# !

Found Objects, Costumes + Archetypes

Mona Hatoum Mona Hatoum is a Palestinian artist who's work explores themes such as violence, oppression and voyeurism, she has explored these themes in performance, installation and smaller sculptures based on household items. Such as this fantastic grater screen called 'The Grater Divide' 2002, and the top image 'Dormiente'. !

Found Objects, Costumes + Archetypes

The Three Sisters, 2000, aluminium 200 x 180 x 100 cm in the 'The Retrieved Object' curated by Elizabeth Gower Linden, St Kilda Contemporary Arts Centre

Donna Marcus Sphere from STEAM in Brisbane Square!

and Gallery, Melbourne

Other Materials!

Donna Marcus and Simon Laws Swan!

Other Materials!

Donna Marcus Spare Room!

Other Materials!

Sebastian Di Mauro Snuffle 2003 Lemprier award Astro Turf and Metal frame!

Found Objects, Costumes + Archetypes

Eva Hesse was born 1936, in Hamburg, Germany. Her family fled the Nazis and arrived in New York in 1939 where she attended the School of Industrial Art, then Pratt Institute in Brooklyn in 1952, and Cooper Union from 1954 to 1957. After winning a scholarship to the Yale Norfolk Summer School in Connecticut, she attended the School of Art and Architecture at Yale University, where she studied painting with Josef Albers. In 1959, Hesse received her B.F.A. from Yale and returned to New York, where she worked as a textile designer.! In 1961, Hesse s paintings were included in group exhibitions at the Brooklyn Museum and at the John Heller Gallery in New York. The following year Hesse had her first solo show at the Allan Stone Gallery, New York. Hesse was married to a sculptor, Tom Doyle, and resided in a factory in Germany during the early to mid-60s, accounting for her experimentation with industrial materials such as mesh and cord. This period marked the beginning of a series of work that would soon earn Hesse international success.! She began to use latex to make sculpture in 1967, and then fiberglass the following year. Hesse s drawings, often ink with layering of washes, incorporated both organic and geometric elements with inorganic, rigid and mechanical shapes and forms. With these works, she gained accolades and recognition, and by the late 1960s she was included in numerous solo and group shows at prominent galleries in New York.!

Eva Hess !

Though Eva Hesse died of a brain tumor in 1970, her work, which incorporates elements of mechanics, repetition, and motion and incorporate experimental and impermanent materials such as fiberglass, rubberized cheesecloth and latex, are still unmatched in originality and defy categorization into one particular movement.!

Found Objects, Costumes + Archetypes

Linde Ivimey Gaudium (2007) and St Emmeranus (2006) Hessian, bones, rope! http://somegrass.tumblr.com/post/449074770/linde-ivimey!

Looking for the Psychology of artworks! Activities! Find and paste into your visual diary with justifications:! 1. an artwork in which the colours are the most powerful element of its appeal to you - justify! 2. an artwork; sculpture, painting, drawing, installation, photograph or examples from an artist s whole body of work that speaks to you + Justify (ie, below is an insight into a couple of Ms H s Favorites Christo and Viola Selections from Google Images search)!

Jungian Psychology ~ Carl Jung s Ideas on the Archetype Take the Jungian Personality Test ~ http://similarminds.com/cgi-bin/newmb.pl Jungian psychology regards human development as a journey or quest in which the soul goes in search of itself. Self-realization, also referred to as self-actualization or individuation, refers to the idea of wholeness in which the personality is integrated and in which the various aspects of personality work together toward a common goal, rather than working at cross-purposes. Embracing the various aspects of the self into a totality involves an inner journey that many people never begin, much less complete. But every person, and every fictional character, is presented with many opportunities to embark on that journey. Of what does this Quest consist? In literature, the romantic narrative pattern involves a Quest that begins with a perilous journey, usually initiated by a trial or conflict, and which initiation involves both a departure and entry occasioning the advent of the Hero (Frye). A series of preliminary adventures occur as the Hero matures and progresses in his Quest. These adventures lead to a crucial struggle between the Hero and his Foe, in which one or both must die or in which the Hero descends into the underworld. His death or descent is followed by his exaltation-possibly even resurrection-and return. The archetypal journey of analytical psychology parallels the Quest of romance literature. The first step in the journey of wholeness begins with a confrontation of the real self, as opposed to the persona, the mask we show the world. This confrontation initially involves a meeting with the primary archetype, the Shadow. After confronting one s own image in whatever mirror reflects it, and seeing what one has built so many resistances to seeing, a person discovers that the mirror is a door (much as in Carroll s Through the Looking Glass) behind which lurk mermaids, wood-nymphs, and even sirens-the anima for the male, and the animus for the female. These must be incorporated before the journey can progress. This quest of the person culminates with a meeting of the Self, sometimes represented by the archetype of the Divine Couple. Individuals who never complete the Quest may over-identify with an earlier archetype, leading to an over-development of that archetype s qualities to the detriment of the others-what Jung called neuroses or complexes. INITIATION: THE SHADOW ARCHETYPE The Shadow archetype is the elemental, foundational archetype representing all that is instinctual-the latent dispositions common to all men. Images portraying the Shadow often involve the wilderness, the woods (full of dragons, ogres, and thieves), or the sea as a watery wilderness. Moses, John the Baptist, and Jesus all met God in the wilderness, which meetings served as their initiations into the mystery of self-realization.The Shadow is most easily observed in others because we project our Shadow selves. ADVENT OF THE HERO: ANIMA AND ANIMUS ARCHETYPES Jung theorized four stages of the soul image s evolution that are shared, more or less, by both anima and animus: the wholly physical, even wild, figure such as Tarzan or Eve; the personality who possesses initiative and the capacity for planned action (a poet or philosopher, or an action-oriented figure like a warrior, hunter, etc. like Faust s Helen); the soul-image who becomes word, sometimes represented by a clergyman, teacher, or a great statesman or, if the anima, one like the Virgin Mary, who raises eros to the heights of spiritual devotion; and, finally, a mediator of the religious experience whereby life acquires new meaning, exemplified by someone like Gandhi (if animus) or the Shulamite in the Song of Solomon (if anima) (Jung, Symbols, 207). THE GREAT MOTHER AND THE WISE OLD MAN ARCHETYPES Men meet the Wise Old Man archetype, while women meet the Great Mother. The opposite-sex archetypes of anima and animus have given way to same-sex archetypes, with whom the individual must make an alliance. These powerful archetypes are symbols of the power and wisdom that lie deep within our own psyches. If the archetype s qualities are embraced, they become part of a person s consciousness and increase wisdom. THE SELF The ultimate pattern of wholeness for the person is the Self, which includes spirit, soul, and body.

http://eve3.wordpress.com/2007/11/05/once-upon-a-time-the-quest-2/

The Wise Fool !

another ARCHETYPAL FEMALE IN MYTHOLOGY AND RELIGION: THE ANIMA AND THE MOTHER

another ARCHETYPAL FEMALE ?

Patricia Hagen and Punch Gallery http://alannarisse.com/blog/?tag=phillip-guston !

Joseph Campbell activity! List 3 personal Heros! 1.

•

A fundamental belief of Campbell's was that all spirituality is a search for the same basic, unknown force from which everything came, within which everything currently exists, and into which everything will eventually return. This elemental force is ultimately unknowable because it exists before words and knowledge. Although this basic driving force cannot be expressed in words, spiritual rituals and stories refer to the force through the use of "metaphors" - these metaphors being the various stories, deities, and objects of spirituality we see in the world. For example, the Genesis myth in the Bible ought not be taken as a literal description of actual events, but rather its poetic, metaphorical meaning should be examined for clues concerning the fundamental truths of the world and our existence.

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Accordingly, Campbell believed the religions of the world to be the various, culturally influenced masks of the same fundamental, transcendent truths. All religions, including Christianity and Buddhism, can bring one to an elevated awareness above and beyond a dualistic conception of reality, or idea of pairs of opposites, such as being and nonbeing, or right and wrong. Indeed, he quotes in the preface of The Hero with a Thousand Faces: "Truth is one, the sages speak of it by many names."

•

Heroes were important to Campbell because, to him, they conveyed universal truths about one's personal self-discovery and self-transcendence, one's role in society, and the relationship between the two.

Identify the traits you ! associate with each of them! 1.

3.  4.

! Read the text to the right! http://en.wikipedia.org/wiki/Joseph_Campbell

Fears also offer Insight activity!

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Read the text + List 3 things you fear most!

•

2.  •

•

Identify a colour to ! symbolise each one!

•

1.  2.  3.

Take the Inkblot Test http://uk.tickle.com/test/inkblot.html

•

The confrontation with the shadow usually feels so restrictive because it is made up of all the contents that we own but have repressed. Most of us repress some of the qualities we don t allow into the persona, the self we show the world. We may be able to consciously choose when to use that hot temper and when not to; when to cuss and when to withhold the curse. But most of our shadow contents are repressed; these become part of our hidden dark side, hidden and dark because we keep it out of the light. The shadow lies in the unconscious, but it is part of the psychic content closest to the ego and the conscious world because it has once been, or could have been, conscious. However, it becomes a threat to the person when we shut it away, forget it, and refuse to recognize it. Like a child chained in a cage, it becomes more and more defiant, grows bigger and bigger, and eventually demands a life of its own. Think of stories like Frankenstein, Dr. Jekyll and Mr. Hyde, Heart of Darkness, Moby Dick; these are just a few examples of stories about how the shadow is has a life of its own. If denied, it eventually becomes a self-willed autocrat over which we have no selfcontrol. The task of the person on the quest of individuation is to stop identifying with the persona and to consciously assimilate the shadow. One has arrived when she has an ego strong enough to acknowledge both the persona and the shadow without identifying with either. This is easier said than done, because we identify with our strengths, with what comes easily. The shadow embodies all that is repressed, pushed aside, locked up, forgotten-not only the seven deadly sins, but also the introvert s extraversion, the intuitive s sensing side, the thinker s feeling function, and the emotional person s thinking side. The shadow contains what we left behind in childhood, our wishes, and our dreams. Sometimes, like Peter Pan, we need someone to help us by lovingly re-attaching our shadow. Perhaps you will recognize your shadow contents in the movies you avidly watch again and again, in your most favorite movies, books, or short stories, or in the art you hang on your walls. Have you ever gone through a phase of watching a movie over and over again? Take a look at the characters who are of the same gender as you: they may reveal hidden aspects of your shadow. Likewise, fascinating figures of the opposite sex may well reveal aspects of your anima or animus that long to be assimilated and used fully in your whole, individuated personality. The best way to know how to switch is simply to say, All right, all this does not mean anything to me any more. Where in my past life is an activity that I feel I could still enjoy? An activity out of which I could still get a kick? The Shadow: http://eve3.wordpress.com/2007/11/06/once-upon-a-time-shadow-3/

Assemblages, Readymades, Combines â&#x20AC;Ś The Found Object! Throughout the 20th-century, as part of the modernist revolt against the use of traditional materials in fine art and the consequent desire to demonstrate that "art" can be made out of anything, artists have been creating sculpture, assemblage, combined paintings/sculptures and installations from an ever-widening range of unusual objects and materials. Exemplified by the 1950s work of the experimental Texan-born artist Robert Rauschenberg, the name "junk art" was first coined by the British art critic and curator Lawrence Alloway (1926-90), in 1961, to describe artworks made from scrap metal, broken-up machinery, cloth rags, timber, waste paper and other "found" materials. Traceable to early 20th-century art by Picasso, Duchamp and Schwitters, junk art has analogies in Dada, the works of Alberto Burri (1915-95) and later Arte Povera artists from Italy, Spanish artists like Antoni Tapies (b.1923), and the Californian Funk art movement. It is also seen as a sub-species of "found art", and is sometimes referred to as "trash art". Its identifying mark, however, remains the use of banal, ordinary, everyday materials.!

Found Object Art began with Duchamp!

Fountain (1917) by Marcel Duchamp (Replica, Tate Collection, London) â&#x20AC;Ś. Yes, a

Urinal, true! A

single transformed object, known as a Readymade. ! Activity: research the found object in artmaking - 20th Century Phenomenon Modernism!

Assemblage by Picasso!

Picasso Bicycle seat rams head!

Surrealist Assemblage!

Meret Oppenheim! Objet (Le Dejeuner en Fourrure)! 1936! Museum of Modern Art, NY!

Robert Rauschenberg s Combines!

Activity: Visit the link below for some contextual information about Rauschenberg and Assemblage! http://www.centrepompidou.fr/education/ressources/ens-rauschenberg-en/ens-rauschenberg-en.htm !

Kurt Schwitters!

Schwitters: Merzbau Hannover (1933)!

Schwitters Untitled Collage 1928 184 x 171 mm!

Schwitters began to make assemblages from scraps of refuse, including one that included a snippet containing the four letters MERZ – cut from an advertisement for the Kommerz- und Privatbank, as he revealed many years later. Merz was soon to become a kind of brand name for almost all his activities and indeed, from 1922, he even began to refer to himself as Kurt Merz Schwitters or simply Merz. Through all the tribulations of his life, he stood his ground with his undogmatic, nonélitist and democratic creation of Merz, which conjured up its own magic from the rejected, the discarded and the useless: small wonder that the Nazis found his art subversive and tried to eradicate it. Schwitters work inspired such post-war pioneers as Jasper Johns, Robert Rauschenberg and Joseph Beuys, and he is now seen as the grandfather of post-1945 art movements, from Pop Art to Fluxus, Conceptual Art to site-specific art! Activity: Visit the links below for some contextual information about Schwitters, is assemblages and Collages… http://www.artchive.com/artchive/S/schwitters.html and his sound art: http://www.youtube.com/watch?v=qGAnINpvSeo ! Schwitters also inspired Brian Eno …! Activity: Visit the link below for a sample http://www.youtube.com/watch?v=mvaZph8ciGA&feature=related!

Also See!

Hannah Hoch - http://www.youtube.com/watch?v=waTi-Fwx-gA&feature=related ! Raoul Hausmann http://www.youtube.com/watch?v=NX9TVOH4Fyg&feature=related

And search for more Dada Artists using collage and assemblage. The Surrealists, being a continuation of the Dadaists, also worked in a similar manner!

Activity: Visit the link below for a sample http://www.youtube.com/watch?v=mvaZph8ciGA&feature=related !

Other Materials - Developing ideas!

Chris Jordan: Running the Numbers Series - Barbie Dolls, 2008 60x80"! Depicts 32,000 Barbies, equal to the number of elective breast augmentation surgeries performed monthly in the US in 2006.! Activity: search Jordan s site: and collect images, comment on the links between media and intended meaning!

Other Materials - Developing ideas!

Gyre, 2009!

Other Materials - Developing ideas!

Gyre, 2009 8x11 feet, in three vertical panels - DETAIL! Depicts 2.4 million pieces of plastic, equal to the estimated number of pounds of plastic pollution that enter the world's oceans every hour. All of the plastic in this image was collected from the Pacific Ocean.!

Developing ideas!

Photographer Chris Jordan, known for powerful portraits of consumption from his Running the Numbers series, has just finished a new project. In his words:! These photographs of albatross chicks were made just a few weeks ago on Midway Atoll, a tiny stretch of sand and coral near the middle of the North Pacific. The nesting babies are fed bellies-full of plastic by their parents, who soar out over the vast polluted ocean collecting what looks to them like food to bring back to their young. On this diet of human trash, every year tens of thousands of albatross chicks die on Midway from starvation, toxicity, and choking.! To document this phenomenon as faithfully as possible, not a single piece of plastic in any of these photographs was moved, placed, manipulated, arranged, or altered in any way. These images depict the actual stomach contents of baby birds in one of the world s most remote marine sanctuaries, more than 2000 miles from the nearest continent. ! http://thestrangeattractor.net/?author=14&paged=4

Jordan s Inspiration - Developing ideas!

Great Pacific Garbage Patch!

http://5gyres.org/ !

What Archetype might this be?!

Susie Macmurray Rubber Gloves

Assemblages of Found Objects! From

http://www.madmuseum.org/INFO/PressRoom/Press%20Releases/Second%20Lives.aspx

What Archetype would you associate with this assemblage?!

Jill Townsley Plastic Spoons

Assemblages of Found Objects! From

http://www.madmuseum.org/INFO/PressRoom/Press%20Releases/Second%20Lives.aspx

What Archetype is this?!

Jeffery Swing Nickles

Assemblages of Found Objects! From

http://www.madmuseum.org/INFO/PressRoom/Press%20Releases/Second%20Lives.aspx

Marina Bychkova!

http://www.enchanteddoll.com/school.html#nog o

http://www.enchanteddoll.com/

Lawrence Ahvakana

Lawrence Ahvakana is an Inupiaq artist who draws on traditional forms, spiritual ideas, and inua imagery to make contemporary mythic art. Ahvakana was raised in northern Alaska in a childhood deeply steeped in the traditions of his Inupiaq culture. He studied art at the Rhode Island School of Design, the Institute of American Indian Arts in Santa Fe, and the Cooper Union School of Art in New York. His carvings, paintings, and multi-media art have been exhibited in museums and galleries all across the United States. "Through my work," he says, Greenland_woman_by_lawrence_ahvakana_1 "I can express/create my ideas of tradition, those feelings of being part of a society that's thousands of years old, with contemporary artist influences like Alan Houser, Fritz Sholder, Charles Lollama, Paul Klee, Kandinsky and others. I continually gain insight, direction, and psychic or emotional strength through the stories of how the Inupiat defined their total subsistence lifestyle with the shamanism, ceremony, and the natural cycles of Arctic living."

A.Alvarez Jester

Other things made from Found Objects!