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inspired works by student

these are so cool and beautiful pattern. i think this quite beauty pattern and neat pieces.these quite a lot of detail.

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inspired works

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this is my favourite work that i  am looking for . i think this is so cool and amazing piece . i like a marks on the fabric and diffrent colours dye in different part on fabric that quite cool.

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old fashion style  inspired

i really like this because this quite colourful and look vintage style and it’s quite look old style between war 1 and war 2 and the shape of garment quite cool. i think it’s quite classic style

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British the 1960s fashion

he 1960s saw the introduction of the mini-skirt - a very short thigh-length skirt. Patterns and bold colours became popular for fabric. This period also saw the introduction of the hippy - often a young middle-class person in favour of colourful flowing clothes, peace and free love.

'In the 1950s youthful clothes were non-existent; I used to make my own. At that time if you were on the tube you were expected to wear a pair of gloves…It was all old lady stuff.' Vanessa Denza, buyer.

In the post-war period exclusive dressmakers and their wealthy clients set the standards, just as they had done before. They looked to Paris for inspiration but their work and lives revolved around the West End in London.

There was a distinctive London style, shaped by traditional tailoring, the events of the Season (Ascot, Henley, Glyndebourne) and a very English sense of decorum. The epitome of elegance was represented by the twelve most prominent Mayfair couturiers who belonged to the Incorporated Society of London Fashion Designers.

By the early 1960s this Mayfair generation was fading in significance, its sophisticated and elitist approach at odds with the new spirit of egalitarianism. But the Society still provided a useful precedent for younger pioneers, in its attention to cut, its inventive use of fabric and its clever approach to marketing.

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American Modernism part 1

In the collection of European Painting and Sculpture at LACMA. Mary D. Keeler Bequest (40.12.40) About William-Adolphe Bouguereau

BIOGRAPHY ARTICLES One of the leading 19th-century French painters working in the academic tradition, William-Adolphe Bouguereau produced scenes taken from classical, mythological, and biblical subjects, focusing primarily on female figures: goddesses, bathers, nudes, and Madonnas. Revered by the Paris academy and greatly admired for his meticulous rendering of skin tones, Bouguereau regularly exhibited at the Paris Salon and was highly successful during his lifetime. His work is also characterized by simplicity and earnestness of emotion and idealized subject matter, for which he often drew derision from the Paris avant-garde, who considered his style outmoded, sentimental, and artificial. It has been suggested that Bouguereau’s sympathetic renderings of children in pastoral settings or indoor spaces, cast in soft lighting, such as The Story Book (1877), was borne out of the loss of one of his children to disease at an early age.

French, 1825-1905, La Rochelle, France

this was amazing art work that quite neat and look realistic and i quite love this painting.the artist used oil colours and it’s made the portrait quite smooth and look fantastic with oil.

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The 1990s Were They Really That Good

In 1959, 300,000 dolls were sold. Now, a Barbie doll is purchased every three seconds somewhere in the 150 countries where they are sold. Barbie was created March 9, 1959. Her beau, Ken, wasn't born for another two years and two days to be exact.

Barbie is a fashion doll manufactured by the American toy-company Mattel, Inc. and launched in March 1959. American businesswoman Ruth Handler is credited with the creation of the doll using a German doll called Bild Lilli as her inspiration.

Barbie is the figurehead of a brand of Mattel dolls and accessories, including other family members and collectible dolls. Barbie has been an important part of the toy fashion doll market for over fifty years, and has been the subject of numerous controversies and lawsuits, often involving parody of the doll and her lifestyle.

Mattel has sold over a billion Barbie dolls, making it the company’s largest and most profitable line. However, sales have declined sharply since 2014.[1] The doll transformed the toy business in affluent communities worldwide by becoming a vehicle for the sale of related merchandise (accessories, clothes, friends of Barbie, etc.). She had a significant impact on social values by conveying characteristics of female independence, and with her multitude of accessories, an idealized upscale life-style that can be shared with affluent friends.[2]

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The 1980s Postmodernism

Late 70’s were marked by the appearance of several names that made a giant impact on the world of art in the upcoming decade. Jean-Michel Basquiat, Keith Haring and FUTURA 2000 helped define the graffiti movement, and gained respect and recognition for street art from the traditionally pretentious art scene.

It is important to note that during the 80’s New York underwent a huge clean-up from graffiti, and it was declared graffiti-free in 1989. A lot of street artists moved on to the outskirts, or into the galleries.

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Hope and Resignation at French Camp Called 'the Jungle'(art work) done by them

Migrants Wait With Hope and Resignation at French Camp Called 'the Jungle' Naina Bajekal / Calais Aug 01, 2015 When dawn breaks in Calais, France, Nabeel Edris’ hopes are momentarily dampened. Another night has passed, and the 29-year-old Eritrean has still not managed to reach England. As the sun rises, he begins his three-hour walk back to the dusty scrubland on the outskirts of Calais, to the makeshift camps known as "the Jungle" to its 3,000 residents. Edris has already ended up staying much longer than he imagined, but he refuses to call it home. A brother, a son, a student, a citizen — Edris had once been many things to many people. But like everyone else in the Jungle, he now holds only the deracinated, dispossessed status of the migrant. “It is not a good life here, it is not good at all,” he says, picking at a yellowing wound on his shin, the souvenir of an attempt to scale the barbed-wire fencing that surrounds the port. Edris left his family behind in the Eritrean capital of Asmara nearly a year ago, fleeing the country’s compulsory lifelong military service. Eritrea's repressive government scores lower on political and press-freedom rankings than even North Korea. Edris has crossed the sweltering expanse of the Sahara, made a perilous sea journey across the Mediterranean from Libya to Italy, and arrived in the French port city of Calais in the freezing depths of winter. But more than six months on, his quest is not over. Edris shares the determination of countless migrants in Calais, who are desperate to escape the squalid conditions of the Jungle. Fueled by the belief that a better life awaits them on the other side of the Channel, they see their situation as temporary. They are drawn to England because they speak the language, have relatives and friends who have settled there or believe the job market will be better than in France. Others feel differently. Many end up applying for asylum in France, giving themselves a time frame by which they will give up trying to reach England. Some continue to live in the Jungle while they endure the long wait for papers to be processed.

As a result, the Jungle is becoming a more permanent fixture in the Calais landscape. It sprung up without approval, but it has evolved into a shanty town of sorts — albeit one that falls far below international humanitarian standards. Though France is the world’s sixth biggest economy, the Jungle on the northern edge of Calais would not pass for a refugee camp in a developing nation. Guidelines from the U.N. High Commissioner for Refugees recommend a maximum of 20 people using one toilet, but in the Jungle, 300 migrants share a single toilet. Piles of garbage attract rats and flies, and the air is thick with the stench of sewage and rotting food.

these art worked done by them and it’s quite show that what they feel and what they think .these were very nice and look pretty

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Photography in the 1960s Frank was 31 in 1955 when he secured the Guggenheim Grant that financed his various road trips across America the following year with his wife and his two young children in tow. He shot around 28,000 pictures. When Les Americains was published by Robert Delpire in France in 1958, it consisted of just 83 black and white images, but it changed the nature of photography, what it could say and how it could say it. Published in the United Sates as The Americans by Grove Press a year later, it remains perhaps the most influential photography book of the 20th century. https://www.youtube.com/watch?v=jRoMBoZsyqwth

this music vedio had some tate similar liked Frank book

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Contexual Study (great woman Artist)(Linda Nochlin)

Linda Nochlin Lecture at SAAM

Last night I watched a live webcast of Linda Nochlin's lecture at the Smithsonian American Art Museum. Nochlin is one of the forefront feminist art historians today (she practically created feminist studies in art history with this article). She has influenced a lot of my thinking in regards to feminism and postcolonialism, and I was really excited to hear her speak. Nochlin spoke about female American artists, ranging from Mary Cassatt to the contemporary period. (On a side note, don't you think it's interesting how both the Americans and French want claim the ex-pat Cassatt as belonging to their country/art movements? Is she a French Impressionist or an American Impressionist?) There were two things in Nochlin's lecture that I thought were especially interesting. I liked how Nochlin compared Mary Cassatt to the compositional devices in Little Girl in a Blue Armchair (c. 1878, shown above on right). Nochlin pointed out that Cassatt was extremely aware of childhood and its discontents, as is evidenced in the painting and subject matter. The little girl is slumped in her chair - it's obvious that she is annoyed with the convention of portraiture and having to sit still (for a long time!) while her portrait is painted. The girl's resistant attitude is emphasized by her angular body within the composition: there's an interesting contrast between the angular body of the girl and the soft, circular body of the dog. Nochlin paralleled this painting to the discontent that Cassatt felt in her own life. Like this little girl, Cassatt was also resistant to convention and tradition. As a suffragist and avant-garde artist, Cassatt defied the standards that were upheld by 19th century society. Cassatt's disregard for the tradition of painting is even emphasized in the unconventional perspective of Little Girl in a Blue Armchair; the viewpoint has been lowered so that the scene is viewed from the perspective of a child, not that of an adult.

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Contextual Study (film1980s)

Ghostbusters (1984)

This article is about the original 1984 film. For the 2016 film, see Ghostbusters (2016 film). For the franchise, see Ghostbusters (franchise). For other uses, see Ghostbusters (disambiguation).

Ghostbusters

Theatrical release poster

Directed byIvan ReitmanProduced byIvan ReitmanWritten by

Dan Aykroyd

Harold Ramis

Starring

Bill Murray

Dan Aykroyd

Sigourney Weaver

Harold Ramis

Rick Moranis

Music byElmer BernsteinCinematographyLászló KovácsEdited by

David E. Blewitt

Sheldon Kahn

Production companies

Black Rhino

Delphi Productions

Distributed byColumbia Pictures

Release date

June 7, 1984 (1984-06-07) (Westwood)

June 8, 1984 (1984-06-08) (United States)

Running time

105 minutesCountryUnited StatesLanguageEnglishBudget$30 million[1]Box office$295.2 million[1]

Ghostbusters is a 1984 American supernatural comedy film directed and produced by Ivan Reitman and written by Dan Aykroyd and Harold Ramis. The film stars Bill Murray, Aykroyd and Ramis as three eccentric parapsychologists who start a ghost-catching business in New York City. Sigourney Weaver and Rick Moranis co-star as a client and her neighbor, and Ernie Hudson as the Ghostbusters' first recruit.

Aykroyd conceived the film as a project for himself and fellow Saturday Night Live alumnus John Belushi, with the "Ghostmashers" travelling through time and space in the future with magic wands. He and Ramis dramatically rewrote the script following Belushi's death and after Reitman deemed Aykroyd's initial vision financially impractical.

Ghostbusters was released in the United States on June 8, 1984. It received a positive response from critics and audiences and grossed $242 million in the United States and more than $295 million worldwide. It was nominated for two Oscars at the 57th Academy Awards for Best Visual Effects and Best Original Song (for the eponymous theme song), but lost to Indiana Jones and the Temple of Doom and The Woman in Red respectively. The American Film Institute ranked Ghostbusters 28th in its AFI's 100 Years...100 Laughs list of film comedies. In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".[2]

The film launched the Ghostbusters media franchise, which includes a 1989 sequel, Ghostbusters II, two animated television series, The Real Ghostbusters and Extreme Ghostbusters and several video games. A reboot, also titled Ghostbusters, was released on July 15, 2016, by Columbia Pictures.

https://www.youtube.com/watch?v=vntAEVjPBzQ

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Contextual Study

About Georgia O’Keeffe

Georgia O’Keeffe is one of the most significant and intriguing artists of the twentieth century, known internationally for her boldly innovative art. Her distinct flowers, dramatic cityscapes, glowing landscapes, and images of bones against the stark desert sky are iconic and original contributions to American Modernism.

Her Life

Her Art

Her Houses

Born on November 15, 1887, the second of seven children, Georgia Totto O’Keeffe grew up on a farm near Sun Prairie, Wisconsin. She studied at the Art Institute of Chicago in 1905-1906 and the Art Students League in New York in 1907-1908. Under the direction of William Merritt Chase, F. Luis Mora, and Kenyon Cox she learned the techniques of traditional realist painting. The direction of her artistic practice shifted dramatically in 1912 when she studied the revolutionary ideas of Arthur Wesley Dow.

Dow’s emphasis on composition and design offered O’Keeffe an alternative to realism. She experimented for two years, while she taught art in South Carolina and west Texas. Seeking to find a personal visual language through which she could express her feelings and ideas, she began a series of abstract charcoal drawings in 1915 that represented a radical break with tradition and made O’Keeffe one of the very first American artists to practice pure abstraction.

O’Keeffe mailed some of these highly abstract drawings to a friend in New York City, who showed them to Alfred Stieglitz. An art dealer and internationally known photographer, he was the first to exhibit her work in 1916. He would eventually become O’Keeffe’s husband. By the mid-1920s, O’Keeffe was recognized as one of America’s most important and successful artists, known for her paintings of New York skyscrapers—an essentially American image of modernity—as well as flowers.

In the summer of 1929, O’Keeffe made the first of many trips to northern New Mexico. The stark landscape, distinct indigenous art, and unique regional style of adobe architecture inspired a new direction in O’Keeffe’s artwork. For the next two decades she spent part of most years living and working in New Mexico. She made the state her permanent home in 1949, three years after Stieglitz’s death. O’Keeffe’s New Mexico paintings coincided with a growing interest in regional scenes by American Modernists seeking a distinctive view of America. Her simplified and refined representations of this region express a deep personal response to the high desert terrain.

In the 1950s, O’Keeffe began to travel internationally. She created paintings that evoked a sense of the spectacular places she visited, including the mountain peaks of Peru and Japan’s Mount Fuji. At the age of seventy-three she embarked on a new series focused on the clouds in the sky and the rivers below.

Suffering from macular degeneration and discouraged by her failing eyesight, O’Keeffe painted her last unassisted oil painting in 1972. But O’Keeffe’s will to create did not diminish with her eyesight. In 1977, at age ninety, she observed, “I can see what I want to paint. The thing that makes you want to create is still there.”

Late in life, and almost blind, she enlisted the help of several assistants to enable her to again create art.  In these works she returned to favorite visual motifs from her memory and vivid imagination.

Georgia O’Keeffe died in Santa Fe, on March 6, 1986, at the age of 98.

Georgia O'Keeffe Jimson Weed/White Flower No. 1 1932 Crystal Bridges Museum of American Art, Arkansas USA © 2016 Georgia O'Keeffe Museum/DACS, London. Photograph by Edward C. Robison III

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contextual study (Flim in 1970s)

This flim quite cools and a little bit frighten because from some scene quite realistic but good film and a little bit drama.

https://youtu.be/9b67g6zKJv4

Story(Plot)

PlotEdit

Travis Bickle, a 26-year-old honorably discharged U.S. Marine, is a lonely, depressed young man living on his own in New York City. He becomes a taxi driver to cope with his chronic insomnia, driving passengers every night around the city'sboroughs. He also spends time in seedy porn theaters and keeps a diary. Travis becomes infatuated with Betsy, a campaign volunteer for Senator and presidential candidate Charles Palantine. After watching her interact with fellow worker Tom through her window, Travis enters to volunteer as a pretext to talk to her, and takes her out for coffee. On a later date, he takes her to see a Swedish sex education film, which offends her, and she goes home alone. His attempts at reconciliation by sending flowers are rebuffed, so he berates her at the campaign office, before being kicked out by Tom.

Travis confides in fellow taxi driver Wizard about his thoughts, which are beginning to turn violent, but Wizard assures him that he will be fine, leaving Travis to his own destructive path. Travis is disgusted by the sleaze, dysfunction, and prostitution that he witnesses throughout the city, and attempts to find an outlet for his frustrations by beginning a program of intense physical training. A fellow taxi driver refers Travis to illegal gun dealer Easy Andy, from whom he buys a number of handguns. At home, Travis practices drawing his weapons and constructs a sleeve gun to hide and then quickly deploy a gun from his sleeve. One night, Travis enters a convenience store moments before an attempted armed robbery and he shoots and kills the robber. The shop owner takes responsibility for the shooting, taking Travis' handgun. On another night, 12 year old prostitute Iris enters Travis's cab, attempting to escape her pimp Matthew "Sport" Higgins. Sport drags Iris from the cab and throws Travis a crumpled twenty-dollar bill, which continually reminds him of her and the corruption that surrounds him. Some time later, Travis hires Iris, but instead of having sex with her, attempts to dissuade her from continuing in prostitution. He fails to completely turn her from her course, but she does agree to meet with him for breakfast the next day. Travis leaves a letter to Iris at his apartment saying he will soon be dead, with money for her to return home.

After shaving his head into a mohawk, Travis attends a public rally, where he plans to assassinate Senator Palantine, butSecret Service agents notice him with his hand in his coat and chase him. He flees and later goes to the East Village to invade Sport's brothel. A violent gunfight ensues and Travis kills Sport, a bouncer, and a mafioso. Travis is severely injured with multiple gunshot wounds. Iris witnesses the fight and is hysterical with fear, pleading with Travis to stop the killing. After the gunfight, Travis attempts suicide, but has run out of ammunition and resigns himself to lying on a sofa until police arrive. When they do, he places his index finger against his temple gesturing the act of shooting himself.

Travis, having recovered from his wounds and returning to work, praised by favorable press reports for hitting the bad guys, receives a letter from Iris' father thanking him for saving her life and revealing that she has returned home to Pittsburgh, where she is going to school. Later, he also reconciles with Betsy when dropping her off at home in his cab. As she tries to pay her fare, Travis simply smiles at her, turns off the meter and drives away.

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graphic (design)

This is lion cut design .I chose this work becuase I like my design ,it looks like this because I have to design colour and the book cover about city centre.it's might look simple but it's so cool with a simple design.I found this work quite success and I really like it.

In my opinion ,i think i choose make it look more interesting and make it's better

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Fine art (cathedral )

This is my favourite drawing because it had a lot of detail and this's quick sketch so it looks like this. I focus everything in the cathedral in exeter. I studied about perspectives drawing some line that I did might be wrong. I found this is my styles. It's look great

Inmy opinion 

I quite like this because it's cool and it's difficult to make it's perfect but I did my best

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fashion textile

Garment by papers 

These is my final  piece .I did it by papers.this garment had a lot of detail and I like it .I chose this work because it's the best of my works that did.I found it quite successful and I really love this garment.I spent 20 minute for did one triangle.I quite pleased of myself

In my opinion 

I think this quite like a feather because th he shapes and lot of triangles. I quite love it 

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Graphic design means

Graphic design is the process of visual communication and problem-solving through the use of typography, photography and illustration. The field is considered a subset of visual communication and communication design, but sometimes the term "graphic design" is used synonymously. Graphic designers create and combine symbols, images and text to form visual representations of ideas and messages. They use typography, visual arts, and page layout techniques to create visual compositions. Common uses of graphic design include corporate design (logos and branding), editorial design (magazines, newspapers and books), advertising, web design, communication design, product packaging and signage.

In my opinion i think graphic design means you should to do something different and odd visual by your ideas.it doesn't matter what it gonna be.it might be odd from a visual but it still visual!!!!!! this is an example for graphic design (front).

Graphic design can design anything in the world example chair, front,clothes and lot of things.