Rag Chair Tejo Remy Describe the object The object I selected for this assignment is Tejo Remy's Rag chair (1991). Tejo Remy is a Dutch designer who conceived and constructed a chair made from recycled rags. Which was part of an exhibit at the Centraal Museum (Utrecht, The Netherlands). The chairs construction is basic, it is a wooden frame covered with rags bound together with steel strips. Each chair is a unique combination of rags carrying its own story. The user has the option of sending in their own old clothes to be recycled into their chair to create a personal design. I chose this chair as it is an unusual object. It featured in one of the slides in a lecture on contemporary practices.. The main focus of the lecture was to show the grey area that is now emerging between …show more content…
Good design is problem solving”. (Jeffrey Veen, 2000, unknown) Tejo Remy chair solves the problem of textile waste, by giving a new value to rags. As Rags are a common disposable object in our society. Tejo Remy has given rags a new value, He has put waste into a gallery context as a design object. Re- purposing waste clothing into a domestic object. It is worth mentioning that this chair currently retails at 3,260.00 Euro. Physically giving waste a designer price tag to make us question the true value of our waste. “The crucial distinction is that under the present conditions, art objects are usually conceived and made by (or under the direction of ) one person, the artist whereas this is not so with manufactured goods.” (Forty, 1995, pg7) Tejo Remy's chair defies this idea as he produced the chair himself. He conceived the concept and constructed the chair himself. Therefore his chair could be considered neither a piece of art nor a piece of design. It is an object produced by a creator that is functional. It could also be viewed as a piece of unconventional
Her paintings are like cheerful laughers on a beautiful day. As with other years, Baltimore Art, Antique & Jewelry Show laid out the red carpets for guests and collectors. The red carpet paved the path to amazing artworks by old masters and exceptional young artists. Kendal Fine Art was a major point of attraction for art collectors and art lovers who were interested in the works of old and new masters.
The chair that is used at such a place is the capital of thinking, the Chair of Thought. Originally meant to be used in the Shrine, it was deemed unworthy of use by the inhabitants of the sanctuary. It was then moved to the desk, and since has been loved for its perfection in fulfilling its role in its new
In “Everyday Use” by Alice Walker, the reader is able to clearly understand their heritage and the materials used to make the quilt. The quote, “... Great Grandpa Ezra’s uniform that he wore in the Civil War,” lets the reader know not only one of the materials in the quilt, but also helping the characters understand their past. The quote, “When the hard clay is swept clean as a floor and the fine sand around the edges line with…” lets the reader understand their lifestyle which apart of their heritage. It also shows how they embrace their heritage.
Mary Jane’s putting down of roots has allowed her living room to warehouse some 2000 bolts of fabric. Mary Jane inexhaustible energy and drive are evident in her 155 traveling days for shows all around the country. “It’s part of my Norwegian upbringing,” she says, “I am genetically inclined to be a hard worker.” Several years ago, Lisa Loessel, Design Director, for Henry Glass & Co., Inc. approached Mary Jane Carey at the fall Quilt Market. Lisa was keen to Mary Jane’s design style, her knack for color and merchandising sensibilities.
Artists Ana Koh-Varilla and Jeffrey Varilla imbue their Martin Luther King, Jr. statue with a sense of community and social progress, residing outside in the center of East Mall since 1999. However, George Segal’s Blue Woman in Black Chair, created in 1981, presents an introspective message on internal boldness and outer vulnerability, telling its story in a corner within the Blanton Museum of Art. Comparing how each piece makes use of scale, subject matter, and style gives deeper insight into the expressive content intended by its respective creator(s). Both works take advantage of scale; Ana Koh-Varilla and Jeffrey Varilla use a larger than life form to create a sense of guidance and authority, while Segal places dominance in the viewer
In his Highbrow/Lowbrow The Emergence of Cultural Hierarchy in America (The William E. Massey Sr. Lectures in the History of American Civilization, 1986), Lawrence Levine reviews the American public culture in the nineteenth and early twentieth century. He believes that American public culture was shared across classes through the mid-nineteenth century. By the later nineteenth century, the upper classes began to divide culture into hierarchal categories, and labels of "high" and "low" came to expressive culture, such as Shakespearean drama, opera, and orchestral music, as well as institutions such as museums.
There was some additional ornamentation that adorned the Wainscot Chair to give it a more upscale feeling from previous works that were created using pattern books. Turning techniques were implemented, as well as, many low relief carvings which could take on the forms of the Tudor rose, acanthus leaf, or even a tulip for example. The paneled construction that really sets off the design of the Wainscot Chair and displays these ornamentations so well (Ray-Degges, 2013). SUMMARY DISCUSSION
Cultural artifacts are different to everyone; to some individuals an artifact is family, friends, animals and belongings they were given or worked for. One student named Char Reeb works at Bob Evans and brought an apron from her work as her artifact. A brief description about Char is, she 's married and quit her job for her husband so now she is enrolled in nursing school and is graduating soon. Reeb hates her job because of the rude individuals that dine in and also because she works with very inexperienced high school students.
While I enjoyed the entire collection, I was drawn to a couple specific pieces. The first was a freestanding
Designed as a faithful reconstruction of the original, it uses the building methods of the time and traditional materials (oak timbers, plaster walls, wooden pegs, water-reeds for thatching the roof). From above, the shape seems circular (actually, it is twenty-six sided) with three covered tiers of seats surrounding a central area which is open to the sky. There the "groundlings" may stand to see the action taking place on the stage, which occupies almost half of the inner space. There are no artificial lights, no conventional sets, no fancy rigging. Now in our time period we have fancy lighting, comfy chairs, beautiful stages, and ad acquit shelter from the weather.
The work “Filthy Lucre” created by Darren Waterston is a reinterpretation of James McNeill Whistler’s famous “Peacock Room”. Since both rooms were located in the Freer and Sackler Galleries, I visited both to compare Waterston’s reinterpretation of Whistlers original work. I will first talk about the original Peacock Room. The Peacock Room was originally a dining room decorated by Whistler to display the owner, Frederick Leyland’s, blue and white Chinese porcelain. When Charles Lang Freer purchased the room for the gallery, he was not a fan of the colors of the pottery, so he added his own pottery of different colors he collected all over Asia.
Resourceful families used material around the house to use as clothing. In one case, an old potato sac can be used as underwear. The struggles of the Great Depression bore its’ tolls in every
Archibald John Motley Jr.’s painting, “Mending Socks”, illustrates an elderly woman sitting in a rocking chair. She has a scarlet blanket loosely hung around her shoulders and is wearing a lace-bordered white apron. Above her on the wall is a wooden cross. In the painting she is repairing socks, hence the piece’s name. On the periwinkle table to her left is a small pile of olive green socks.
On the other hand, Anguelov argues that the issue is not only the resource strain caused by manufacturing but also people throwing away their used clothes, as the fashion trend changes very rapidly, then clothing also becomes unfashionable and unwearable that people end up getting rid a lot of unwanted clothing. Instead of recycling their unwanted and undesirable apparel, it is