Illustrate a Story

This sketch depicts a story from Storycorps. A couple was down unemployed and down on their luck. Trying to escape the traps of drugs and alcohol, they searched for a way to get out. They decided to become self declared private investigators. They would often search through garbage cans and take photos of evidence found there. Sometimes, they would chase down fees of small amounts just to feed themselves. They also would investigate infidelity cases, which at first had no positive effect on their relationship. After talking together on those long drives, however, the couple drew closer together and now have a healthy relationship as a result.


Shaun Kaufman and Colleen Collins | StoryCorps

Design in Our Lives

Everything used in the modern world has a degree of functionality and follows a specific design pattern. Design dictates the stability of structures which are necessary for living in a technological age.  The study of the functionality of design is known as ergonomics. Ergonomics can be broken down into two separate categories: that of high functionality and that of low functionality. 

High functionality, in design, can be defined as the positive effectiveness of an object or structure. This is shown through application and use of the model. Marcel Breuer’s “Chaise Longue” fits into the category of high functionality. The piece’s title resonates the purpose of the structure. The longue creates a relaxing mood by elevating one’s legs and relaxing one’s back. This is useful for those who have physically strenuous occupations, for it allows one to relieve stress put on the legs during the day of work. Another example of a design encompassing high functionality is Massoud Hassain’s “Mine Kaffon Wind-Powered Deminer.” The title may be lacking brevity, but the piece itself is far from lackluster. Constructed from biodegradable materials, the “deminer” is deployed over minefields to activate and explode hidden landmines. Fueled by the wind, the deminer uses natural energy to power itself. Upon destruction, the parts from the deminer can be recycled and used in the creation of a new piece. 

Low functionality, on the other hand, usually befits the design that is not practical for everyday use. The piece titled “2000 Year Calendar” by John Maeda is that of low functionality. The calendar, although intriguing, would not be practical due to the sheer size of the paper required to print such an endeavor. The text is too small to read without a microscope, and the weight of the paper would be too heavy for one to pick up. A way to improve on the functionality is to copy the information digitally. If digitalized, one can easily search/scroll through the calendar. Another example of low functionality is Gebrue der Thonet’s “Stool (Model B357).” Although held together by plated steel tubing, the material used for the seat part is flimsy. Without support from underneath, the canvas could easily rip or tear if a sharp object pierced through it. A way to improve upon this design is to add a structure underneath the canvas, adding support for the stool. 

Although high functionality is ideal, a design can be “good” regardless of functionality. “2000 Year Calendar” has a very unique design for something only existing in one’s imagination. If there were a reason for a two millennia calendar, this design would be amongst the foremost for consideration. Although artistic, the design is impractical and therefore possesses low functionality. Here we can see the divide between artist and the designer. Art is driven by the evocation of emotions. Design is driven by science. Design, however, can be done in a creative way and still have high functionality. The mathematics behind design is almost an art form within the science. 

Ergonomics defines the functionality in design, whether it be of high or low functionality. Functionality is directly related to practical application. The more practical the use of the structure, the higher functionality it has. Although a model can possess low functionality, it can still have significant design. In relative to the art world, design is prevalent when it comes to creation and structure. Everything man made has some form of design, including art. However, not all design is portrayed in a creative/artful way. The dividing line between the two is human emotion.

Marcel Breuer

"Chaise Longue"

Bent birch and upholstered cushion

1935-1936

Massoud Hassain

"Mine Kaffon Wind-Powered Deminer"

Bamboo and bio-degradable plastics

2011 

John Maeda

"2000 Year Calendar"

Offset lithographs

1995

Gebrue der Thonet

"Stool (Model B357)"

Chrome-plated steel tubing and canvas

1932

Art and Identity: The Museum of Modern Art

            During my visit to the Museum of Modern Art and the PS1 exhibit I saw many pieces of art. There were a few, however, that caught my attention and forced me to dig deeper into the meaning behind the work. There are three separate pieces that specifically activated something in my mind. Each piece has its own form of identity, whether it is cultural, personal, or historical. Pieces discussed in this post cover three aspects of identity.

Rosmarie Trockel’s piece titled “Untitled” caught my attention immediately upon entering the exhibit.  The piece appears nothing more than a blob of blackness from afar. However upon further inspection, one can see the detailed letters knitted into the woolen fabric. The letters spell out “Made in Western Germany.” The aspect of the piece that captured me was the medium. Most of the other pieces in the exhibit were either paintings or ink pictures. I believe this piece demonstrates a strong cultural identity for women artists in Germany during the 1980s. Trockel’s decision to use wool comments on the male dominance of the art world. By knitting the piece, Trockel makes the statement that women have great potential to be artists. The text of the piece also describes the internal divide of Germany. This piece, executed in 1987, came before the falling of the Berlin Wall. Germany was still divided into two parts, with the western of the two having NATO as an ally. The piece speaks directly to East Germany, saying that a woman can grow and succeed in non-socialist West Germany. 

                Robert Longo’s piece titled “Pressure” demonstrates a strong sense of personal identity. The piece consists of two parts. The upper is a depiction of a building, which protrudes from the canvas. The bottom is an ink print of a man wearing a white tee with clown paint on his face. The building casts a shadow over the ink print. I believe Longo feels to be in the shadows compared to the effort that is put into technology and structures. The sad clown paint shows the anger of one beneath the advances of technology. This is all speculation, but I believe Longo is also commenting on a generation that has fallen behind the times. The white tee shows that the problem is common, for most men would have had a similar tee shirt during this time. The face paint comments on the indifference of technology towards one person. The face paint hides facial features, making it difficult to recognize the person. 

                Margaret Lee’s piece titled “Eggplant Phone” shows strong historical identity. The piece, although manufactured in 2012, uses an old turn-dial telephone as the main focus of the work. The eggplant in the piece was created from plaster and paint. The piece comments on the long durability of the eggplant as a fruit. The turn-dial telephone, although outdated, has technology and parts that make it still useful in today’s world. Through the combination of both the eggplant and the telephone, Lee makes the connection between modern technology and nature. Interestingly enough, if she were to use a real eggplant the piece would decompose. The phone, however, is made from plastic parts that would take thousands of years to wear away. This fuels the piece, depicting how the image of something can change. Eggplants are used in everyday meals around the world. Turn-dial telephones, however, are not the commonplace in most American households. The piece shows the clash between trending times and the stability of nature.  

                These three pieces demonstrate strong depictions of identity in art. However, most of the pieces will overlap. Rosemarie Trockel’s piece covered the identity of women in Western Germany during the divide between east and west. Trockel’s piece also shows the personal identity of herself as a woman during this time period. Robert Longo’s piece covered a personal experience in a growing technological environment, but also described the cultural identity of others during the same time. Margaret Lee’s piece showed the historical identity of both an eggplant and a turn-dial telephone. However, she also acknowledges the durability of herself as a living organism, something that will not remain constant for hundreds of years after creation.  

Rosemarie Trockel

“Untitled”

Wool

1987

Robert Longo

“Pressure”

Lacquer on wood; charcoal, graphite, and ink on paper

1982-1983

Margaret Lee

“Eggplant Phone”

Plaster, acrylic paint, phone parts

2012