Category Archives: Art

Art Posts

Logging On

c>log
Log may or may not inclusively or exclusively refer to:


Wooden Log
Also known as timber, wood from trees used for construction or wood pulp for paper production


Data
Log
A record of sequential data


Logbook
A log of important events in the management, operation and navigation of a ship


Web
Log
Web’s log, Weblog, ‘blog, or blog, a reverse chronological journal


Logarithm
The mathematical operation that is the inverse of exponentiation, or the result of this operation.


Log (urban-type settlement)
An urban-type settlement in Volgograd Oblast, Russia


Log (toy)
A fictional toy advertised on the Ren and Stimpy cartoon


Log
An architectural magazine


The Log (guitar)
A nickname given to Les Paul’s first solidbody electric guitar built in the 1930s

The Log (guitar)

An unlockable guitar in Guitar Hero II, homage to the Les Paul guitar


Chip
Log
A device used in navigation to measure the speed of a ship


L.O.G.
a skateboard team based out of Greencastle, Pennsylvania

 
 
What form does your log take?

  

Art Market 2007 (The Real #1)

c>log
Many thanks to Guzzi for pointing out that the Art Market 2007 Top Ten List failed to include the real number one painting for 2007 that actually set a world record on May 16, 2007 at Sotheby’s New York. Look at the sale prices on the Top Ten List — this sale will blow you away:

Artist: Mark Rothko
Title: White Center (Yellow, Pink and Lavender on Rose)
Medium: Oil on canvas
Sold For: 72,800,000 US$

That is $26,839,000 more than the previously reported number one (Francis Bacon/Second Version of Study for Bullfight No. 1) and $38,599,000 more than the Rothko (Untitled-Red, Blue, Orange) listed as number three on the list. That’s quite a difference between two paintings in a series by an artist. Why? Who knows…but, that is why we love the art market. And, the market shows no real signs of cooling off. Stay tuned, and to you collectors and dealers–keep those checkbooks open!

Art Market 2007 – The Top Ten

c>log

The top ten most expensive works of fine art sold at auction in 2007.
Total auction sales of over $324.0 million for this group of 10 artists.

1

Artist: Francis Bacon
Title: Second Version of study for bullfight no. 1
Medium: Oil on canvas
Size: 78.7 x 58.1 in. / 200 x 147.7 cm.
Sold For: 45,961,000 US$

2

Artist: Paul Gauguin
Title: Te poipoi (Le matin)
Medium:
Oil on canvas
Size: 26.8 x 36.2 in. / 68 x 92 cm.
Sold For: 39,241,000 US$

3

Artist: Mark Rothko
Title: Untitled – Red, blue, orange
Medium:
Oil on canvas
Size: 66.6 x 49.4 in. / 169.2 x 125.4 cm.
Sold For: 34,201,000 US$

4

Artist: Henri Matisse
Title: L’odalisque, harmonie bleue
Medium:
Oil on canvas
Size: 23.7 x 19.5 in. / 60.3 x 49.5 cm.
Sold For: 33,641,000 US$

5

Artist: Francis Bacon
Title: Self portrait
Medium:
Oil on canvas
Size: 14 x 15.9 in. / 35.5 x 40.5 cm.
Sold For: 33,081,000 US$

6

Artist: Pablo Picasso
Title: Femme accroupie au costume turc, Jacqueline
Medium:
Oil on canvas
Size: 45.6 x 35.1 in. / 115.8 x 89.2 cm.
Sold For: 30,841,000 US$

7

Artist: Amedeo Modigliani
Title: Portrait du sculpteur Oscar Miestchaninoff
Medium:
Oil on canvas
Size: 32 x 25.6 in. / 81.2 x 65 cm.
Sold For: 30,841,000 US$

8

Artist: Pablo Picasso
Title: Tête de femme (Dora Maar)
Medium: Bronze
Size: 31.50 in. / 800 cm.
Sold For: 29,161,000 US$

9

Artist: Jeff Koons
Title: Hanging heart (Magenta/Gold)
Medium: Chromium stainless steel/transparent color coating & brass
Size: 116.6 x 85 x 40 in. / 296.2 x 215.9 x 101.6 cm.
Sold For: 23,561,000 US$

10

Artist: Andy Warhol
Title: Liz
Medium: Synthetic polymer, silkscreen inks and acrylic on linen
Size: 40 x 40 in. / 101.6 x 101.6 cm.
Sold For: 23,561,000 US$

On: Shape

c>log
10:54:15
“The perception of shape is the most active of visual functions.”


10:56:11
“Seeing shape is the perception of the outstanding structural features of an object.”


10:58:04
“Shapes are the raw stimulus patterns that are transformed into perceivable patterns by vision to create both new and familiar objects.”


11:02:07
“All perceptions are embedded within space and time.”


11:04:58
“Any shape tends to be seen as plainly as conditions permit.”

Jac Mac and Rad Boy — Go!


c>log
Anyone familiar with late-night 80’s cable shows will most likely be into the classic series Night Flight, an program which showcased cutting-edge music videos and state-of-art animation in a strange cut-and-paste montage of non-stop video. Night Flight was kind of a “poor man’s MTV”.

One of Night Flight’s more interesting cartoons was a cult epic called Jac Mac and Radboy – GO! Directed by Wesley Archer (from The Simpsons and King of the Hill) and starred two strange-looking youth who find out about a party and decide to drive over.

The crazy duo stop at a convenience store to pick up some booze. After charging through the front windows of the store with their loot, they zoom past police cars and other whacky obstacles toward the big finale where the boys ram their car underneath a big rig hauling a cargo of nuclear warheads, which sets off a gigantic atomic explosion that blows Jac Mac and RadBoy straight to hell where they must spend eternity, tortured by creepy looking demons and what-not. “We’ll never get to the party now!” screams Rad Boy. No you won’t Rad, no you won’t…and neither will you Jac Mac. Ultimato!





Standards of Design

c>log

• Design must be considered as an integral part of an organization.

• Design must perform in response to human needs.

• Design is a requirement–not a cosmetic addition.

• To not design is to suffer design by default.

• Design can save money (reduce labor, materials, production).

• Design can save time (presents information more clearly).

• Design enhances communication (accelerates learning/acceptance).

• The absence of design is hazardous!

• Design is the transmission of information and ideas by visual means.

• Design is a persuasive tool.

• It is the designer’s business to recognize, plan, and stimulate coming trends.
 
• Good design will meet the pressures of expanding technology, commercial competition, and the
   demands of a fast-changing existence.

• Design is the organization of materials and forms in such a way as to fulfill a specific purpose.

• Good design persuades.

• Design relates objects/organizations to people.

• Design is a means for improving safety and efficiency.

• Design creates alternate solutions for each problem.

• Design involves affecting an audience.

• Good design gets positive responses to visual messages.

• Good design is aware of basic marketing concepts and how they affect visual imagery.

• Effective design is fresh, innovative, and is concerned with details.

• Design provides a client or consumer with a basis for selection.

• Every time a customer makes a selection, he/she exercises judgment in matters of appearance,
   function, and a perceived value to him/her.

• An emphasis on appearance provides a clue to your personality and financial resources.

• Image cannot be divided into categories, but must be recognized as the result of the combination
   of perceptions and associations.      


On: Balance

c>log
10:09:52
“Objects are immediately seen as having a certain size as well as having a location in space.  No object is seen as being unique or isolated.  A scale of size, a scale of brightness, or a scale of distance is always present in the total visual/perceptual field.”


10:10:04
“To be seen, an object must be assigned a place in the whole. Perception involves not only the placement of objects, shapes, colors, etc. but an interplay of directed tensions.  These tensions are not created by the viewer but are inherent forces within the image.”


10:17:45
“Balance is a state wherein the forces acting upon an object compensate for the presence of each other.  A pure state of balance causes all action to cease.”


10:24:42
“Balance does not require symmetry.”


10:26:36
“The properties of weight and direction are always dynamic.”


10:34:31
“Weight depends on a location or visual composition.  Strong compositions support more visual weight than weak or off-center compositions that do not respect the natural horizontal/vertical grid structure of any visual field.”


10:39:17
“Perception may be influenced by the viewer’s intrinsic interest in an image, or by the viewer’s hopes, fears, and knowledge.”


10:41:41
“We live in a space where dynamics vary with direction.  Top and bottom seem to mean more to us than right or left.”


10:45:03
“Moving away from the center of gravity requires work.”


10:45:40
“In a visual system, weight and direction cause movement, or a state of imbalance that must be stabilized in order to bring the system back to equilibria.”

 

Artist, Designer & Photographer