compitional grid

http://www.cgl.uwaterloo.ca/~ecdfourq/composition/CAE2008Abstract.html

need to check this out

this is the grid that i will be using for my own composition and hopefull i can created the stucture with in my own work and then have the chaos in it bcuz it is how i work :) i just hope that this works 

and the 'Assumption of the Virgin' by Titain

 oo kk this that the angles that the 3 split up ward and i is related to my work quite alot

time to whittle

 ok well i started to whittle and that is the piece of wood i had  plus the saftie glove

 the knife i use to start to whittle

the end product and it was a dick but i did find out that it took the stress away and it was very relaxsing and then started to look into where whittleing came from and way people did it and i found out that it started up in the war the soilders would do it to carm their nerves

 hand of didck or something like that lol no but really it is another piece of wood i whittled and i did that with it it lookd quite cool

 i just thought that lok really cool and it is just dried paint in a bucket

 woman doin chores and kid in back ground very sterio tipical picture i dont like it

 but she has got a engeners overall on soo it has this kind of voice that is say i dont wont to do this shit i wont to do something better

 elivated dick on the floor abit like politics or footbal i just wonted to change the context of the same kind of piece

 ity does look like it is looking at me or crawling toward me creepy

it is like the bush of it haha yh

 man :) umm yh it was on of the few i started using colour i like it and it does have a present within the room

close up  butr it does look a lot like David Keffords work with the figer look about it
 

 it does look very male bcuz of how i hav put it 2geather with all joinery found objects

kid calling out that is quite a good name for it. and i need to work out what to call my pieces just to help out people

well ask you can see its a boy well done yh lol i liker the humore that i have in my work

 i ended up painting him and abit less litrial  soo you have blue for boy but when it was a girls colour and a joinery piece implying that there is sexi time that or something along those lines

just a close up of the blue to make sure in was all level and intechaly put there

this one creep the hell out oif me bcuz it looks like she is following my no matter where i go :) yh this is the girl of my work soo if u put them all togeather you get boy, girl, sex and kid hmmm kowinsedence  i think not :)

Reflection note on research:

Reflection note on research:

·         Ok well let me see i started to look  in to dada and Duchamp and mark Scott wood with David kefford of starting points because they work with collarge

·         Then i email Mark and David Kefford and i i go some very usefull feedback from them and this then help me to look in to more artist and movement such as Dada and fluxes  and in to some of the artist like Sarah Lucas and like folk art and outside art

·         I then started to look in to the idea of whittling and how i can show that with in my work and i look in to some art that involed it and i also found out that in the war soldiers would whittle because it kept them of thinking about the fight ahead soo it was used to carm the nerves

·         I was thinkin about sexi time at this point and made a dick out of the wood and that got me thinking about Sarah Lucas’s work and what she does then i lookin in to David Kefford and i saw more similarity and i was really fun to chat with him though email. 

·         i don’t know what to say just that i get an idea and then i research in to artist that relate to my work and that led me in to doing more research on other thing and different thing plus the way i work is i i do the research to strengthen my idea but it just end up me goin in a different direction and then ending up in a similar direction that i was in to begin with after going thought 3 or 4 ideas and it still end u bing good i hope

·         But yh without my research i would not of got to where i am right now and this is very helpful so has the reflective practise and also lookin in to different art movements such as Dada and Folk Art and Outsider art where i found them where from Mark Scott Wood emails to me

·         So it has all been very useful and just doing this is helping me out with the way i will structure my work and organise it so people can come in to my space a kinda understand it but i hope that when people do look at it that they walk though it and walk out whiles thinkin about the different meaning that is could be/ mean

·         And my work defiantly depend on how i am feelin at that time so if i am feelin happy there will be happiness within it but if i am sad then there want  be happiness in it or if it is there then it be fake soo a difference kind of meaning but i want it all to have that kinda of joke of sexi time and rudeness just because it will be very funny  to me

sarah lucas

Sarah Lucas (born Holloway, London, 1962) is an English artist. She is part of the generation of Young British Artists who emerged during the 1990s. Her works frequently employ visual puns and bawdy humour, and include photography, collage and found objects.

Education
Lucas left school at 16; she studied art at The Working Men's College (1982–3), London College of Printing (1983–4), and Goldsmith's College (1984–7), graduating with a degree in Fine Art in 1987.^[1]

Work

Lucas was included in the 1988 group exhibition Freeze along with contemporaries including Angus Fairhurst, Damien Hirst, and Gary Hume.^[2] In 1990, Lucas co-organized the East Country Yard Show with Henry Bond, in which she also exhibited. Her first two solo exhibitions in 1992 were titled The Whole Joke and Penis Nailed to a Board. It was in in the early 1990s when Lucas began using furniture as a substitute for the human body, usually with crude genital punning.^[3] Created for a show organised by fellow artist Georg Herold at Portikus, Au Naturel (1994) is an assemblage of objects—a mattress, a bucket, a pair of melons, oranges and a cucumber—that suggest male and female body parts.^[4] For six months in 1993, Lucas and fellow artist Tracey Emin rented a retail space in east London, The Shop, where they made artworks, ranging from printed mugs to T-shirts with slogans, and put them on sale. In works such as Bitch (table, t-shirt, melons, and vacuum-packed smoked fish, 1995), she merges tabloid culture with the economy of the ready-made. In earlier work, she had displayed enlarged pages from the Sunday Sport newspaper. Through her career, Lucas has continued to appropriate everyday materials (including, for example, freshly made fried eggs) to make works that use humour, visual puns and sexual metaphors of sex, death, Englishness and gender.

Sarah Lucas. Self-Portraits 1990 – 1998 (1999)

Sarah Lucas is also known for her self-portraits, such as Human Toilet Revisited, 1998, a colour photograph in which she sits on a toilet smoking a cigarette. In her solo exhibition The Fag Show at Sadie Coles in 2000, she used cigarettes as a material, as in Self-portrait with Cigarettes (2000).
Writing in the The Guardian, in 2011, Aida Edemariam said that "Lucas was the wildest of the Young British Artists, partying hard and making art that was provocative and at times genuinely shocking."^[5] In 1996, she was the subject of a BBC documentary, Two Melons and a Stinking Fish.

 Exhibitions

Lucas had her first solo exhibition in 1992 at City Racing, an artists' run gallery in south London, and her first solo show in New York at the Barbara Gladstone Gallery in 1995.^[6] One-person museum exhibitions at Museum Boymans-van Beuningen in Rotterdam, at Portikus in Frankfurt, at Museum Ludwig in Cologne and at Kunsthalle Zurich, Kunstverein am Hamburg and Tate Liverpool have accompanied exhibitions in less conventional spaces—an empty office building for The Law in 1997, a disused postal depot in Berlin for the exhibition Beautiness in 1999, and an installation at the Freud Museum called Beyond the Pleasure Principle in 2000.
Lucas’s work has been included in major surveys of new British art in the last decade including Brilliant!—New Art From London at the Walker Art Center, Minneapolis, in 1995, Sensation (Young British Artists from the Saatchi Collection at the Royal Academy in 1997), and Intelligence—New British Art, 2000, at Tate Britain. In 2003, Sarah Lucas participated in the 50th International Biennale of Art in Venice, Outlook: Contemporary Art in Athens, and In-A-Gadda-Da-Vida, a three person exhibition for Tate Britain with Angus Fairhurst and Damien Hirst in 2004. From October 2005 to January 2006, Tate Liverpool presented the first survey exhibition of Lucas's work.

 Personal life

In the mid-2000s, Lucas was in a relationship with fellow YBA Angus Fairhurst.^[7] Lucas now lives with her partner Julian Simmons, in the former residence of Benjamin Britten near Aldeburgh; a home which is "tucked away down a long country lane, behind a Baptist church in Suffolk."^[8]

off-color

The term off-color humor (also known as vulgar humor or crude humor) is an Americanism used to describe jokes, prose, poems, black comedy, blue comedy, insult comedy, cringe comedy and skits that deal with topics that are considered to be in poor taste or overly vulgar by the prevailing morality of a culture. Most commonly labeled as "off-color" are acts concerned with sex, a particular ethnic group, or gender. Other off-color topics include violence, particularly domestic abuse; excessive swearing or profanity; "toilet humor"; national superiority or inferiority, dead baby jokes, pedophilic content, and any other topics generally considered impolite or indecent. Generally, the point of off-color humor is to induce laughter by evoking a feeling of shock and surprise in the comedian's audience. In this way, off-color humor is related to other forms of postmodern humor, such as the anti-joke.

History
Off-color humor was used in Ancient Greek comedy, primarily by its most famous contributor and representative, Aristophanes. His work parodied some of the great tragedians of his time, especially Euripides, using sexual and excremental jokes that received great popularity among his contemporaries.
Another one for the endless sexual jokes was William Shakespeare, the 16th-century playwright and poet. Almost every one of his plays contains suggestive jokes and innuendo.
Jonathan Swift, an Irish satirist in the 17th century, used scatological humor in some of his pieces, including his famous essay A Modest Proposal and his rather crude poem "The Lady's Dressing Room," in which the speaker comments on the goings-on in a 17th-century woman's room, including her business in her chamber pot.
Dirty jokes were once considered subversive and underground, and rarely heard in public. Comedian Lenny Bruce was tried, convicted, and jailed for obscenity after a stand up performance that included off-color humor in New York City in 1964. Comedian and actor Redd Foxx was well known in nightclubs in the 1960s and 1970s for his raunchy stand-up act, but toned it down for the television shows Sanford and Son and The Redd Foxx Comedy Hour, stating in the first monologue of the latter show that the only similarity between the show and his nightclub act was that "I'm smoking".[1] American society has become increasingly tolerant of off-color humor since that time. Such forms of humor have become widely distributed and more socially acceptable, in part due to the mainstream success in the 1970s and 1980s of comedians like Dolemite, Andrew Dice Clay's "The Dice Man", and Richard Pryor.
In the 1990s and modern era, comedians such as George Carlin, Bill Hicks and Dave Chappelle use shocking content to draw attention to their criticism of social issues, especially censorship and the socioeconomic divide. The highly-praised television show South Park also popularized the use of offensive humor, for which the show has become infamous. The Aristocrats is perhaps the most famous dirty joke in the US and is certainly one of the best-known and most oft-repeated among comedians themselves.
In British humor, the genre of "sick jokes" is often used to shock by poking fun at taboo or as a reaction against political correctness. Examples include the website B3ta, the humour wiki Sickipedia and its accompanying book The Bumper B3ta Book of Sick Jokes,^[1] and the adult comic Viz.

duchamp fountain

Fountain (1917)

Duchamp’s most notorious readymade was a manufactured urinal entitled Fountain. Conceived for a show promoting avant-garde art, Fountain took advantage of the show’s lack of juried panels, which invariably excluded forward-looking artists.

Under a pseudonym, “R. Mutt,” Duchamp submitted Fountain. It was a prank, meant to taunt his avant-garde peers. For some of the show’s organizers this was too much — was the artist equating modern art with a toilet fixture? — and Fountain was “misplaced” for the duration of the exhibition. It disappeared soon thereafter.

---

As surely as it was a prank, Fountain was also, like the other readymades, a calculated attack on the most basic conventions of art. Duchamp defended the piece in an unsigned article in The Blind Man, a one-shot magazine published by his friend Beatrice Wood. To the charge that Fountain was mere plagiarism, “a plain piece of plumbing,” he replied “Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view — created a new thought for that object.”

At the time, almost nobody understood what Duchamp was talking about. But fifty years later everyday objects would be commonplace in art.

R. Mutt Meaning

Like much of what Duchamp did and said, the meaning of R. Mutt and other pseudonyms such as Rrose Selavy is up for debate; Duchamp was famous for his use of intentional misdirection in interviews, so everything he said needs to be taken with a grain of salt.

In William Camfield's Marcel Duchamp's Fountain: Its History and Aesthetics in the Context of 1917, the author quotes from an interview with Duchamp on the origins of "R. Mutt"

"Duchamp stated many years later that the pseudonym "Mutt" came from the Mott Works [J.L. Mott Iron Works, manufacturer of the urinal] but was modified because "Mott was too close so I altered it to Mutt, after the daily strip cartoon "Mutt and Jeff" which appeared at the time, and with which everyone was familiar. Thus, from the start there was an interplay of Mutt: a fat little funny man, and Jeff: a tall thin man...And I added Richard [French slang for money-bags]. That's not a bad name for a "piasotiere." Get it? The opposite of poverty. But not even that much, just R. MUTT."

L.H.O.O.Q., Marcel Duchamp (1919)

Artist: Marcel Duchamp (1887- 1968), whose sense of humour first came to attention in 1917, when he submitted, under the name R Mutt, a urinal to a New York art exhibition. Duchamp anonymously defended R Mutt in a magazine, and gave a definition of his new art of the readymade: whether or not Mr Mutt made it with his own hand has no importance. He chose it. He took an everyday article, placed it so that its usual significance disappeared under the new title and point of view - and created a new thought for that object.

Subject: The Mona Lisa, painted in the 16th century by Leonardo da Vinci (1452-1519), and the most celebrated portrait in the world.
 
Distinguishing features: The Mona Lisa's deep-set eyes and round face do not conflict with Duchamp's act of violence. The beard and moustache seem a completion. Duchamp said the Mona Lisa becomes a man - not a woman disguised as a man, but a real man. This hints at a different meaning from vandalism, for all the crudeness of those letters, L.H.O.O.Q., which sound out the French sentence: "She has a hot arse." This is not simply an attack on the mass-produced tourist icon the Mona Lisa had become, but rather an inter-pretation of it. Sigmund Freud had psychoanalysed Leonardo's art and related the artist's inability to finish his works to the sublimation of his sexual life to art. He also argued that Leonardo was homosexual.

Duchamp's Mona Lisa is a Freudian joke. Duchamp reveals, in a simple gesture, that which the painting conceals. But this is not merely an allusion to Freud. Duchamp uncovers an ambiguity of gender at the heart of Leonardo's aesthetic - that Leonardo sees the male form in the female.
This kind of hidden self- portrait is what Duchamp discovers in his rectified readymade. His Dadaist intervention redeems Leonardo's masterpiece from the banality of reproduction and returns it to the private world of creation.