During the summer of 2005, I visited my sister in New York City. During that time, we visited most of the tourist attractions. We traveled to the Statue of Liberty, climbed to the top of the Empire State Building, went to a Yankee's game, went to a musical, we rode the ferry to Long Island, of course we stopped in at Tiffany's. I was even there for the Fourth of July and was able to watch fireworks shot over the Statue of Liberty. I thought at the time that that was for sure going to be my highlight.
Looking back on the situation, on the last day, I walked over to the Metropolitan Museum of Art, it wasn't far from where we were staying and the house owners were members so we were admitted free admission. Which at the time was a large incentive to go. Outside the beautiful Met was a large banner featuring the presence of Coco Chanel's collection and history. Me, being a lover of fashion and a follower of designers, was very excited.
Inside was a very tall ceiling, well-dressed tour guides, people from all walks of life and most importantly beautiful artwork. I walked briefly through most of the museum looking for the feature on Coco Chanel. Once I found it, my eyes lit up because. there in front of me were classics of her designs. From the early 1910s to present when another designer had taken over her company.
The presentation that the Met presented was breath taking. It took you back and forth through a leaded maze, glancing to the left, glancing to the right. At that moment, I was inspired and grateful. Presented were her gowns, jewelry, shoes and more. It continued for quite a long time and the passer Byers were crowding the more influential exhibits.
After glazing through the amazing displays, the maze led us to the gift shop, which at that moment I bought a very expensive book on Chanel. I left the museum and later that day flew home to Oregon. The book that I purchased was quite heavy so I kept it out of my suitcase, in fear of having my luggage weigh more than 50 pounds. On the fight, I could not stop reading and looking through the book that I had purchased and knew that I wanted to keep clean.
From that trip in 2005 to today, I left the Metropolitan Museum of Art inspired and fulfilled. If I lived in NYC, I would too become a member and visit often. Art is very powerful, and as I said in my first post, art is everywhere and art is beautiful. That is how I feel, whether it is fashion or printing, expression is the key to happiness. The feeling that I found in New York I will continue to find every time I open that book.
Saturday, March 3, 2007
Thursday, March 1, 2007
Jordan Schnitzer Museum of Art offers podcasts
The Jordan Schnitzer Museum of Art has now introduced podcasts as a new aspect of the multimedia, especially in the museum world. A year-long project by University of Oregon students, allows visitors to experience art through their ears. Podcasts are now being introduced at this campus museum.
Starting February 14, the museum offered what they call “I-Tours,” podcasts that would act as a museum tour that would explain background information on many art pieces in the museum. The narrator in the I-Tour explains the architecture of the building and exhibits as well as extensive information on the art exhibits.
The younger generation that is now in college, adapts well to the use of modern technology to complement an old-fashioned experience, “it’s a new wave of museums,” said interim Director Robert Melnick.
This new experience will cost the museum as much as $50,000.
Podcats plan to be updated three times a year and are currently available for downloads on the museum’s Web site, where people planning to attend the museum prior are able to download. For those who do not own an IPOD, the museum is offering IPOD nanos for checking out.
The museum is also looking for inputs to the podcasts; they are encouraging input via email at itour@uoregon.edu. The current podcasts offer perspectives from community members, University students, faculty, and alumni.
Starting February 14, the museum offered what they call “I-Tours,” podcasts that would act as a museum tour that would explain background information on many art pieces in the museum. The narrator in the I-Tour explains the architecture of the building and exhibits as well as extensive information on the art exhibits.
The younger generation that is now in college, adapts well to the use of modern technology to complement an old-fashioned experience, “it’s a new wave of museums,” said interim Director Robert Melnick.
This new experience will cost the museum as much as $50,000.
Podcats plan to be updated three times a year and are currently available for downloads on the museum’s Web site, where people planning to attend the museum prior are able to download. For those who do not own an IPOD, the museum is offering IPOD nanos for checking out.
The museum is also looking for inputs to the podcasts; they are encouraging input via email at itour@uoregon.edu. The current podcasts offer perspectives from community members, University students, faculty, and alumni.
Wednesday, February 28, 2007
Our generation in the Multimedia age
Now, we are currently in the multimedia age. This age has technology that is accessible to most people around the world. In this age, everybody has the ability to be a producer because of simple, accessible software programs.
IPODS, YouTube and Blogger.com, offer people of all ages are able to tell and share multimedia. Podcasts and vidcasts are the new coming of age with teenagers leading the way.
Our generation is the first to be exposed to all different kinds of media. The Internet that was predominately introduced in 1992 is now a daily necessity. Newspapers and Magazines are going through a transitional period as to where they are aware of their readership declining and are adapting to their online sites and are adapting to a more graphical approach. Radio is loosing listeners to satellite radio that contains fewer commercials and to IPODS and MP3 players. Many students and adults are now downloading podcasts from their favorite comedians, news stations and programs from RSS feeds before traveling to work and school.
ITunes library and online store is common for purchases of songs and podcasts. Even the Oregon Daily Emerald is available on ITunes with podcasts and vidcasts.
Even in this multimedia minor at the University of Oregon, students are required to take classes from the School of Music and Dance, the School of Journalism and Communication, the Department of Computer and Information Science and the School of Architecture and Allied Arts. Here, with the knowledge of all of these schools and departments, allow the multimedia minors to have a variety of abilities in the digital world.
IPODS, YouTube and Blogger.com, offer people of all ages are able to tell and share multimedia. Podcasts and vidcasts are the new coming of age with teenagers leading the way.
Our generation is the first to be exposed to all different kinds of media. The Internet that was predominately introduced in 1992 is now a daily necessity. Newspapers and Magazines are going through a transitional period as to where they are aware of their readership declining and are adapting to their online sites and are adapting to a more graphical approach. Radio is loosing listeners to satellite radio that contains fewer commercials and to IPODS and MP3 players. Many students and adults are now downloading podcasts from their favorite comedians, news stations and programs from RSS feeds before traveling to work and school.
ITunes library and online store is common for purchases of songs and podcasts. Even the Oregon Daily Emerald is available on ITunes with podcasts and vidcasts.
Even in this multimedia minor at the University of Oregon, students are required to take classes from the School of Music and Dance, the School of Journalism and Communication, the Department of Computer and Information Science and the School of Architecture and Allied Arts. Here, with the knowledge of all of these schools and departments, allow the multimedia minors to have a variety of abilities in the digital world.
Tuesday, February 27, 2007
The Internet
According to Okin, when the Internet process began in 1962, there were approximately 10,000 computers in the world. All of which was priced at hundreds of thousands of dollars.
From there, AT&T answered this technology hurdle with data communication and presented a “Picturephone” in 1939 and was later presented again in the New York World’s Fair in 1964. AT&T proved to be the answer to the future of communications worldwide at this time.
From 20 years of predominant existence, in 1990 the Internet had grown considerably and had expanded to Argentina, Austria, Belgium, Brazil, Chile, Greece, India, Ireland, South Korea, Spain and Switzerland.
The reality of computer viruses started to emerge and there was a report of approximately 130 in existence.
Later, in 1992 the Internet had one million hosts and really took off. The Apple computer, which debuted in 1984, started the reality of personal, affordable computers. However, by 1992, computers had a network bandwidth of 20 million times greater, as well as nine orders of magnitude faster.
In 1994, Internet celebrated its 25th anniversary and that was the same year that World Wide communities began. The United States Senate and the House of Representatives provided its own server as well as online shopping was introduced, mainly from well-known shopping malls. Another phenomenon that occurred this year is that Pizza Hut offered online ordering. A miracle for college-age students.
By 1997, most of the world was connected to the World Wide Web in a way that was going to change everybody’s lives.
From there, AT&T answered this technology hurdle with data communication and presented a “Picturephone” in 1939 and was later presented again in the New York World’s Fair in 1964. AT&T proved to be the answer to the future of communications worldwide at this time.
From 20 years of predominant existence, in 1990 the Internet had grown considerably and had expanded to Argentina, Austria, Belgium, Brazil, Chile, Greece, India, Ireland, South Korea, Spain and Switzerland.
The reality of computer viruses started to emerge and there was a report of approximately 130 in existence.
Later, in 1992 the Internet had one million hosts and really took off. The Apple computer, which debuted in 1984, started the reality of personal, affordable computers. However, by 1992, computers had a network bandwidth of 20 million times greater, as well as nine orders of magnitude faster.
In 1994, Internet celebrated its 25th anniversary and that was the same year that World Wide communities began. The United States Senate and the House of Representatives provided its own server as well as online shopping was introduced, mainly from well-known shopping malls. Another phenomenon that occurred this year is that Pizza Hut offered online ordering. A miracle for college-age students.
By 1997, most of the world was connected to the World Wide Web in a way that was going to change everybody’s lives.
Saturday, February 24, 2007
Groundbreaking technology — Apple computers
The art scene took a different turn in the road when in 1984 the first computer was introduced to the world — an Apple computer that employed bit-mapped graphics with a resolution of 72 dpi on a screen that was slightly larger than a postcard. Amazing.
There were three big companies at this time that had introduced groundbreaking technology: Apple computers, Adobe and Aldus.
A large advantage of Apple computers at this time was their simplicity, and user-friendly nature. Having an application that was easy-to-use was vital at this time. Apple came complete with a mouse and applications including paint and many typefaces.
At the same time, Adobe was developing PostScript technology that contained a cleaner version of type than bit-maps. Adobe was also developing a new layout application called PageMaker, which a University of Oregon student invented.
Up until this time, design was mainly challenged movement to movement by the past movement’s philosophies. Now, with substantial technology emerging from the 1980s on, the ever-evolving technology and new media challenged the art world.
There were now all new possibilities with working with type and layout, and constant software development was being introduced.
Before this new technology, producing a publication contained a very long list of editors, writers, designers, typesetters, graphic artists, paste-up specialists, pre-production, plate makers, press operators and more.
In the mid 1980s, desktop publishing came to the forefront and combined many of the jobs from the list above, changing the art world as we knew it.
There were three big companies at this time that had introduced groundbreaking technology: Apple computers, Adobe and Aldus.
A large advantage of Apple computers at this time was their simplicity, and user-friendly nature. Having an application that was easy-to-use was vital at this time. Apple came complete with a mouse and applications including paint and many typefaces.
At the same time, Adobe was developing PostScript technology that contained a cleaner version of type than bit-maps. Adobe was also developing a new layout application called PageMaker, which a University of Oregon student invented.
Up until this time, design was mainly challenged movement to movement by the past movement’s philosophies. Now, with substantial technology emerging from the 1980s on, the ever-evolving technology and new media challenged the art world.
There were now all new possibilities with working with type and layout, and constant software development was being introduced.
Before this new technology, producing a publication contained a very long list of editors, writers, designers, typesetters, graphic artists, paste-up specialists, pre-production, plate makers, press operators and more.
In the mid 1980s, desktop publishing came to the forefront and combined many of the jobs from the list above, changing the art world as we knew it.
Friday, February 23, 2007
Postmodernism
With the controversy of the Vietnam war conflict and with the new expanding technology rose the era of postmodernism. This movement had significant visual elements.
It set the tone for experimentation, with many artists using photographs, typography and offset angles to express their art in a different manner. It’s main influences date back to the Futurists and Dadaists.
Postmodernism rejects order, thus demanding to represent change and expression. Many postmodernism design groups emerged and brought vernacular and retro design into the spotlight.
Retro design representing older design and usually demonstrated with use of color, type and line angles.
Vernacular design adopted commercial and clip art and used it to connect content with context. Vernacular incorporated many mediums for inspiration, anything from baseball cars, advertisements to matchbooks. These media were mostly recycled ideas that eventually were later found in magazine centerfolds and in annual reports.
Retro and vernacular design of postmodernism both took the main ideologies of movements of art deco and futurism. This new design theory was more pleasing to the eye than the past and demanded order.
Soon after, extreme postmodernism emerged and contained an alternative edge and involved a more playful approach than the past. Many publications that followed this movement were controversial in its approach. Three publications from the past that exlemplified the respectability of challenging readers were Rolling Stone, The Washington Post and Time magazine.
Now, since the postmodernism design era, design has changed drastically and is constantly in flux.
It set the tone for experimentation, with many artists using photographs, typography and offset angles to express their art in a different manner. It’s main influences date back to the Futurists and Dadaists.
Postmodernism rejects order, thus demanding to represent change and expression. Many postmodernism design groups emerged and brought vernacular and retro design into the spotlight.
Retro design representing older design and usually demonstrated with use of color, type and line angles.
Vernacular design adopted commercial and clip art and used it to connect content with context. Vernacular incorporated many mediums for inspiration, anything from baseball cars, advertisements to matchbooks. These media were mostly recycled ideas that eventually were later found in magazine centerfolds and in annual reports.
Retro and vernacular design of postmodernism both took the main ideologies of movements of art deco and futurism. This new design theory was more pleasing to the eye than the past and demanded order.
Soon after, extreme postmodernism emerged and contained an alternative edge and involved a more playful approach than the past. Many publications that followed this movement were controversial in its approach. Three publications from the past that exlemplified the respectability of challenging readers were Rolling Stone, The Washington Post and Time magazine.
Now, since the postmodernism design era, design has changed drastically and is constantly in flux.
Tuesday, February 20, 2007
I heart pop art
Pop art became an American phenomenon in the 1960s because of its personal artistic expression, and included some strong influences of the previous movement, abstract expressionism.
According to Lucy Lippard’s book, Pop Art, this art movement of pop art was born twice: While it first evolved in Europe, then migrated to New York City. With this movement struck New York, many influential artists took the forefront.
Major players from the east coast in the pop art industry are Andy Warhol, Roy Lichtenstein and James Rosenquist. These New York City inspired artists helped move a trend into a major movement that is still very popular today.
This movement appealed to the youth because of its bright colors, geometric shapes, giant scale and iconic people. Andy Warhol presented a lot famous people in his artwork like Marilyn Monroe, Elvis Presley, Jackie Kennedy and Mao Zedong. His style of mixed media, including photographs, paint and prints. Re-prints are still commonly seen and sold in many stores.
Roy Lichtenstein took a wide range of subjects and genres. His trademark style exemplifies bright colors, dot patterns, stripes, and strong outlines.
Pop art became a major trend that evolved abstractism, while experimenting with shapes. Many artists would take a well-known symbol and manipulate the image to appear in a different distorted manner, using commercial techniques and colors to convey remarkable images.
According to Roy Lichtenstein Prints, Jordan Schnitzer and his family foundation of Jordan Schnitzer Museum of Art on campus also has an interest in pop art. He has extensive collections of Lichtenstein and Warhol’s prints.
According to Lucy Lippard’s book, Pop Art, this art movement of pop art was born twice: While it first evolved in Europe, then migrated to New York City. With this movement struck New York, many influential artists took the forefront.
Major players from the east coast in the pop art industry are Andy Warhol, Roy Lichtenstein and James Rosenquist. These New York City inspired artists helped move a trend into a major movement that is still very popular today.
This movement appealed to the youth because of its bright colors, geometric shapes, giant scale and iconic people. Andy Warhol presented a lot famous people in his artwork like Marilyn Monroe, Elvis Presley, Jackie Kennedy and Mao Zedong. His style of mixed media, including photographs, paint and prints. Re-prints are still commonly seen and sold in many stores.
Roy Lichtenstein took a wide range of subjects and genres. His trademark style exemplifies bright colors, dot patterns, stripes, and strong outlines.
Pop art became a major trend that evolved abstractism, while experimenting with shapes. Many artists would take a well-known symbol and manipulate the image to appear in a different distorted manner, using commercial techniques and colors to convey remarkable images.
According to Roy Lichtenstein Prints, Jordan Schnitzer and his family foundation of Jordan Schnitzer Museum of Art on campus also has an interest in pop art. He has extensive collections of Lichtenstein and Warhol’s prints.
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