#mu sculp

[4eternal-life]

 Auguste Rodin  (French, 1840–1917)

Le Baiser  / The Kiss,  c. 1882

marble sculpture

181.5 cm × 112.5 cm × 117 cm (71.5 in × 44.3 in × 46 in)

@ Wikimedia Commons

Rodin was a French artist widely regarded as the father of Modern sculpture. Known for his expressive depictions of the human form in bronze and marble, Rodin is responsible for such iconic works as The Kiss (c. 1882) and The Thinker (1902).

[eorzean-beauty-salon]

hello don't know if you remember

We talked before icluding I paid some ko-fis to you, you made me some faceports and we were talking about future ones that I planned to help with donations because of it. I wonder if you will update the ones you made for me, Kan-esenna with horns and hilda ears for example, your own sculps too, and others. My requests were usually by chat, not the most popular faceports so I worry that they are gone.

I do remember you. My memory is not that bad ^^ As long as i am still into in ff14 modding i will always happily update any mods including the private ones. Please kick mu a** and i will do my best to update them soon. ^^

[fashionbooksmilano]

Karl Schenker’s Glamorous Images - Karl Schenkers Mondäne Bildwelten

edited by Miriam Halwani

Museum Ludwig, Köln - Verlag der Buchhandlung Walther König, Köln 2016, 208 pages, 24.5 x 30.5 cm, hardcover, English/German,  978-3-96098-020-9

euro 30,00

email if you want to buy :booksinprogressmilano@yahoo.it

Karl Schenk­er (1886–1954): the “born por­trai­tist of el­e­gant peo­ple,” “a mas­ter of sev­er­al medi­ums,” “s­tage di­rec­tor of wo­m­en’s heads”—the press was en­thu­si­as­tic about the pho­to­graphs that made Karl Schenk­er one of the best-known so­ci­e­ty pho­to­g­ra­phers in the 1910s and ’20s. Ev­ery­body who was any­body had their por­trait tak­en in his Ber­lin stu­dio on the fa­mous Kur­fürs­ten­damm.

Af­ter all, no one made their sub­jects look bet­ter, and there was no greater mas­ter of re­touch­ing. He wrapped ac­tress­es, dancers, and so­ci­e­ty ladies in tulle and furs be­fore tak­ing their pic­ture—or he paint­ed the fur in­to the pic­ture af­ter­wards. As a pho­to­g­ra­pher, il­lus­tra­tor, pain­ter, and for a time even a sculp­tor, Schenk­er ded­i­cat­ed him­self to cre­at­ing beau­ti­ful por­traits of wo­m­en. He made use of ev­ery means of re­touch­ing, but sure­ly al­so the ris­ing cos­met­ic in­dus­try and in some cas­es pre­sum­ab­ly the equal­ly young cos­met­ic surgery. Es­pe­cial­ly wo­m­en be­came formable ma­te­rial, and Schenk­er had one goal above all: beau­ty.

Lit­tle is known about Schenk­er’s life and work. Born in 1886 in Bukov­i­na (Ro­ma­nia), he came to Ber­lin via Lviv and Mu­nich around 1912, where he estab­lished a flour­ish­ing stu­dio. In 1925 he moved to New York for five years, where he main­ly il­lus­trat­ed and paint­ed por­traits un­der the name Karol Schenk­er. Af­ter 1930, back in Ber­lin, his name ap­pears as an ad­ver­tis­ing pho­to­g­ra­pher in mag­azines. But af­ter 1934 the trail goes cold. Fac­ing per­se­cu­tion as a Jew, in 1938 he emi­grat­ed to Lon­don, where he opened a stu­dio on Re­gent Street. He died in Lon­don in 1954.

The Mu­se­um Lud­wig re­cent­ly ac­quired around 100 por­traits and is tak­ing this as an oc­ca­sion to trace Schenk­er’s life and work for the first time and to re­dis­cov­er an un­just­ly for­got­ten artist. Around 250 works will be pre­sent­ed, in­clud­ing in­ter­na­tio­n­al loans: pho­to­graph­ic por­traits of once-fa­mous wo­m­en and men, fashion and wax fig­ure pho­to­graphs, mag­azine cov­ers de­signed by Schenk­er, an orig­i­nal draw­ing, a paint­ing, movie star post­card­s—even col­lecti­ble im­ages from ci­garette pack­ages. To re­dis­cov­er Karl Schenk­er is to re­dis­cov­er a pho­to­g­ra­pher who trans­formed his mod­els in his works in­to the gla­m­orous crea­tures they want­ed to be seen as.

12/03/21

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[detroitlib]

Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) 

English composer, virginalist and organist of the late Tudor and early Jacobean periods. He was a leading composer in England in the early 17th century. (Wikipedia)

From our stacks: Illustration “Orlando Gibbons Mus. Doct. Oxon MDCXXII. C. Grignion sculp.” from A General History of the Science and Practice of Music, By Sir John Hawkins. A New Edition, with the Author’s Posthumous Notes. Vol. I. London: Novello, Ewer & Co.; New York: J. L. Peters, 1875.

[organotoy-sextoys]

When you design new toys do you sculpt them by hand or do you use 3D printing or something? If you sculpt them by hand how do you make the different sizes identical or are they identical?

Thats a really interesting question.

I personally prefer to use cad programms and my loved 5 axis cnc mill(the german word is 5-Achsen Bearbeitungszentrum so i hope I translated it right).

I seldom sculpt because after my brain trauma my hands are sometimes shaky so I prefer cad(although I still can sculpt on my good days)

My head of the sfx mu shop loves sculping and never uses cad programms etc. For example, she sculpted this one: 

https://organotoy-sextoys.tumblr.com/post/175854868048/a-review-of-organo-sex-toys

She also painted around half of it after I started to get tremor when I airbrushed the tip.

Another of my sfx artists prefers zbrush (but uses also blender, inventor etc) so it depends on who designs the toy.

But when I started the company nearly 8years ago alone most toys were sculpted. But their are lots of differences between the early fisting/stretching toys and what we design today. But still around 50% of our sales are the older designs.

It depends on what for different sizes. For example, the saw´s. They have a handle and although the diameter of the penetrator is smaller the hands still have the same size. So we made the handles nearly the same size.

Another example, the saber. We will make smaller and bigger versions of it one day but the length of the part between the cone and the food wont change a lot so you can still grip it pretty good 

And for the eggs the molds are directly milled.

I hope I could help you with my answer

[micaramel]

Artist: Trisha Donnelly

Venue: Museum Ludwig, Cologne

Exhibition Title: 2017 Wolfgang Hahn Prize

Date: April 25 – August 31, 2017

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of the artist and Museum Ludwig, Cologne. Photos by Fotografie Schulzki.

Press Release:

The Ge­sellschaft für Mod­erne Kunst am Mu­se­um Lud­wig will pre­sent the 2017 Wolf­gang Hahn Prize to Tr­isha Don­nel­ly. With this prize, which has been award­ed an­nu­al­ly over the past twen­ty-three years, the or­gani­za­tion will rec­og­nize the ex­traor­d­i­nary oeu­vre of this artist, who was born in 1974 in San Fran­cis­co and now lives in New York.

The prize in­cludes the ac­qui­si­tion of a work or a group of works by the artist for the col­lec­tion of the Mu­se­um Lud­wig. An ex­hi­bi­tion of Tr­isha Don­nel­ly’s work will al­so take place at the mu­se­um, and a ca­t­a­logue will be pub­lished to com­me­m­o­rate the award. The ju­ry for the 2017 Wolf­gang Hahn Prize in­clud­ed this year’s guest ju­ror Suzanne Cot­ter, di­rec­tor of the Ser­ralves Mu­se­um of con­tem­po­rary art in Por­to; Yil­maz Dziewior, di­rec­tor of the Mu­se­um Lud­wig; Mayen Beck­mann, chair­wo­m­an of the Ge­sellschaft für Mod­erne Kunst; as well as Gabriele Bier­baum, Sabine Du­Mont Schütte, Jörg En­gels, and Robert Müller-Grünow as board mem­bers of the Ge­sellschaft für Mod­erne Kunst.

Mayen Beck­mann, chair­wo­m­an of the Ge­sellschaft für Mod­erne Kunst, of­fered the fol­low­ing state­ment on the se­lec­tion of the artist: “The ju­ry was en­thu­si­as­tic about Tr­isha Don­nel­ly’s di­verse work, which re­sists in­ter­pre­ta­tion. With sculp­tures, draw­ings, per­for­mances, films, and pho­to­graphs, she cre­ates works that lead us as view­ers in­to en­tire­ly dif­fer­ent spheres of per­cep­tion. Her con­sis­ten­cy and rad­i­cal ap­proach to ques­tions of aes­thet­ics or re­cep­tion were an im­por­tant rea­son for hon­or­ing Tr­isha Don­nel­ly with the Wolf­gang Hahn Prize. This is very much in keep­ing with the spir­it of Wolf­gang Hahn, who saw the con­nec­tion be­tween life and art in the avant-garde.”

Suzanne Cot­ter, di­rec­tor of the Ser­ralves Mu­se­um of con­tem­po­rary art in Por­to: “The Wolf­gang-Hahn Prize is one of the most in­spir­ing awards for con­tem­po­rary artists of its kind, and it is with enor­mous plea­sure that the prize this year goes to Tr­isha Don­nel­ly. Tr­isha Don­nel­ly is with­out doubt one of the most com­pelling artists of our time whose work of­fers en­tire­ly new ways of ex­pe­ri­enc­ing and think­ing about form, at once sy­naes­th­esic and dis­rup­tive­ly tran­s­port­ing. As an artist she oc­cu­pies a po­si­tion of com­mitt­ed re­sis­tance to the easy ap­pro­pri­a­tion of art as some­thing con­tained and ul­ti­mate­ly con­trol­lable. At the same time, the ex­traor­d­i­nary generos­i­ty of her work, that touch­es on the vi­su­al – in par­tic­u­lar the pho­to­graph­ic – , the spo­ken, the au­ral and the phys­i­cal, is elec­tri­fy­ing in its per­mis­sion.”

Yil­maz Dziewior, di­rec­tor of the Mu­se­um Lud­wig: “For us as an in­sti­tu­tion whose mis­sion is to col­lect con­tem­po­rary art, the pre­sen­ta­tion of the prize to Tr­isha Don­nel­ly is ex­cel­lent news. I have fol­lowed Tr­isha’s work close­ly for years; she brings the problem that artists have long worked on—­name­ly, what the very con­cept of an art­work mean­s—in­to the fu­ture. Her in­de­pen­dence and re­sis­tance to all forms of ap­pro­pri­a­tion are es­sen­tial el­e­ments of her work, as is her abil­i­ty to ad­just to the spe­cif­ic ex­hi­bi­tion venue and con­text, on­ly to over­turn ev­ery­thing, to dis­pense with any con­text of mean­ing, and to di­rect­ly ap­peal to the view­er. The Wolf­gang Hahn Prize thus once again sets new stan­dards by rec­og­niz­ing an ex­traor­d­i­nary and pi­oneer­ing artist.”

BAUWENS and Eb­n­er Stolz, two lo­cal com­pa­nies in Cologne, will cont­in­ue their long-term sup­port of the award cer­e­mony in 2017 as well as the ex­hi­bi­tion at the Mu­se­um Lud­wig and the publi­ca­tion. In 2016 both com­pa­nies agreed to gener­ous­ly sup­port the Wolf­gang Hahn Prize for at least three years.

Link: Trisha Donnelly at Museum Ludwig

Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today.

from Contemporary Art Daily http://bit.ly/2w19vq7

[4eternal-life]

Igor Mitoraj (Polish,  1944-2014)

Mars

bronze 22 3/4 x 10 3/4 x 12 in. (57.7 x 27.3 x 30.4 cm.)

Executed in 1999

© CHRISTIE'S

[4eternal-life]

BRUNO MUNARI  (1907-1998)

Flexi, 1968 scultura flessibile,  40x40x40 cm

Auction  ©  LiveAuctioneers

[4eternal-life]

Mimmo Paladino (Italian, b. 1948)

The Sound Of Night /Il Rumore della Notte, 1986

bronze sculpture

Museum of Fine Arts, Houston

https://www.nanopress.it/cultura/foto/arte-contemporanea-italiana-gli-artisti-piu-conosciuti_4595.html

[4eternal-life]

Germaine Richier (French, 1904-1959)

Don Quichotte, 1950

bronze, 223.20 x 0.00 cm

https://www.blouinartinfo.com/galleryguide-venues/289833/past

[4eternal-life]

Alberto Giacometti  (Swiss, 1901–1966) La Cage, Première Version, 1950 bronze 90.50 x 0.00 cm

https://www.blouinartinfo.com/galleryguide-venues/750624/past

[4eternal-life]

Dame Barbara Hepworth  (English, 1903 -1975) Orpheus (Maquette 2) (Version II)  1956, edition 1959 copper alloy and cotton string on wooden base 1149 x 432 x 415 mm

© Bowness / © Tate, London

In the 1950s Hepworth found new ways to make abstract sculpture. Having previously concentrated on carving, she began using sheet metal and string. Many artists at the time looked to her work as an endorsement of their own abstract work. However, Hepworth’s sculptures always followed the geometric rules that they favoured. The form and the title of this work (which references ancient Greek musician and poet Orpheus), bring together ideas of a harmony between modern technology, musical composition and Greek myth.

[4eternal-life]

Jacques Lipchitz  (Russian-French, 1891 –1973)

Meditation, 1931, cast 1960s

plaster,  197 x 180x 146 mm

© The estate of Jacques Lipchitz, courtesy, Marlborough Gallery, New York 

© Tate, London

Lipchitz made a number of similarly abbreviated sculptures of heads and hands in the early 1930s, which develop his interest in the idea of a hollow space within the body. This particular pose goes back to the ‘Man Leaning on his Elbows’, 1925, which is itself related to the ‘transparent’ sculptures of that year.

[4eternal-life]

Lynn Chadwick  (English, 1914 - 2003)

Walking cloaked figures I, 1978

bronze 

BlouinArtinfo

[4eternal-life]

Isamu Noguchi  (Japanese-American, 1904 -1988)

RECURRENT BIRD, 1958 Greek marble 45 by 46 by 16cm

(C)  Sotheby's

[4eternal-life]

Alexander Calder  (American, 1898 - 1976)

Object with Red Discs,  1931 Painted steel rod, wire, wood and sheet aluminum

© Whitney Museum of American Art

In 1930, Alexander Calder visited the Paris studio of Dutch artist Piet Mondrian, where he was intrigued by a group of colored cardboard shapes pinned to the studio wall. The encounter inspired Calder to start making abstract sculpture and prompted him to create the first abstract sculptures that moved.

He carefully planned out his moving sculptures before he built them. He thought about how the object would move and what kinds of lines or shapes the different parts would make while in motion. These experiments would eventually lead to Calder’s invention of the mobile. 

https://whitney.org/Education/ForTeachers/TeacherGuides/AmericanLegends