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ESTHETIQUE

Using logotype makes the logo hard to be visualized. As long as The ESTHETIQUE word is a long word, using space between letters (kerning) makes it longer that makes it impossible to be seen in one glance so memorize it is hard for mind. To can understand the logo the audience have to read it completely as long as using memorable visual point in logo keeps it in mind an make it easer to read in future.

The only visual point in this logo is one red line above the I, that it is not strong enough to be memorized.

Using modern and sans-serif typeface it good selection but the rigid line in type face is far from the aims of firm and far from the anticipate of audiences.

The magazine design needs space for breathing .it should be unique and different from other usual designs. Until without reading could be recognize as esthetique.

By decreasing, the density of make up and focusing on smile and nature beauty will help to environment.

Nothing comes from Nothing

A good typographer always has sensitivity about the distance between the letters.We think typography is black and white. Typography is really white,t is not even black. It s the space between the blacks that really makes it. In a sense it is like music. It is not the notes, it is the space you put between the notes that makes the music.

Ludwig Mies van der Rohe quotes

“God is in the details.”

“I don’t want to be interesting. I want to be good.”

“Less is more.”

“Architecture starts when you carefully put two bricks together. There it begins.”

“Architecture is the will of an epoch translated into space.”

“A chair is a very difficult object. A skyscraper is almost easier. That is why Chippendale is famous.”

“It is better to be good than to be original.”

“True education is concerned not only with practical goals but also with values. Our aims assure of us of our material life, our values make possible our spiritual life.

“Let us guide our students over the road of discipline from materials, through function, to creative work. Let us lead them into the healthy world of primitive building methods, where there was meaning in every stroke of an axe, expression in every bite of chisel.”

cosmetic

Invite people to experience new way of thinking, by changing the habits and usual living environment.

Changing, helps to refresh mind and feeling, and makes it possible to get ready to create new way.

By re-looking at some details in our living place, that we usually miss them only because of we see them day in and day out will find new behavior of forms.

Looking differently at same things…

 and looking same at different things… Both of them are necessary for bring a new sense to world.

Simple matters like playing the shadows when face to dancers,

When they are looking at light and you look at shadows behind them,

Freezing the movements when they are still moving

You feel fresh; you look new, you feel good so you look better; as if you look better, you fell well.

Beauty means what we think is beauty; that is why smile is beauty.

performance art provides new experience of feeling, as make up does.is make up a performance by women?

Translating the forms…

 The interesting point, after Sebastian workshop today, was that ALL of the selected works were narrative works. Why we are more interested in?

In art and design area, we usually translate the Ideas and meanings to Forms. On the other hand, when we try to understand other works translate (or let me call it retranslate) it again to original form. This matter happens when we want to explaining an idea for others also.

Our mind looks after some rules in a work to be able to experience and understand it.Changing the visual mediom to literacture usually is happend by people, the audience want to memorize the events in the clip or poster, or he wants explain it to other ones so tries to find a third language.

If The main idea of designers was shaped in narrative from,this third language is near to first thinker imagines. And it happens often because we owed our anecdotes in way of thinking. Most of the ancient pictures are narrative. They depict some story beyond the forms.

I think in this area of design,after that someone tried to explain the clip to other one,by retranslating, the reproduced  form is very clos to original one. And it is one characteristics of narrative design.

In this kind of narration(non-narration), designer uses the forms and relaion between the forms. Now, translating the narration to literacy is impossibl or very hard. 

although, in my point of view, translatin the informaion by using non-narative medioms is faster than other one, but, we are influenced by our ancients mind. the narration is very important part of their ways of thinking.

for me the exiting matter is: as long as non-narrative works do not need retranslating to other mediums, why we still are looking for narrative advertising or works?

from wikipedia

in general, Minimalism’s features included: geometric, often cubic forms purged of allmetaphor, equality of parts, repetition, neutral surfaces, and industrial materials.

Definition of Minimalism

The majority of Minimalist artists work with simple geometric figures. Squares or cubes are often used as they are considered ideal because of their identical side lengths. The objects are related to the room in a natural way, situated parallel to the walls and the grain. The material itself is hardly processed by the artist as it is mostly automatically prefabricated and standardized. So it already meets the minimum requirements for a sculpture, namely spatiality, mass and material1, and only in a few cases the artist exceeds this minimum. Another essential aspect is the critical stance of Minimalists towards art in general and towards traditional galleries in particular, which becomes visible for instance by the unwieldy objects that seem totally oversized for small exhibition rooms.

Protagonists of the Minimalist Movement

Minimalism is considered mainly an American phenomenon, although its historical development is not limited to the USA. However, in art and music only Americans are considered to be the most important representatives, mostly working in New York. To be more precise, in Minimal Art mainly the five artists Carl Andre (born in Massachusetts in 1935), Dan Flavin (born in Jamaica, NY, in 1933; died in Riverhead, NY, in 1996), Donald Judd (born in Missouri in 1928; died in New York in 1994), Sol LeWitt (born in Connecticut in 1928; died there in 2007) and Robert Morris (born in Kansas City in 1931) are worth mentioning. The representativesof Minimal Music are Philip Glass (born in Baltimore in 1937), Steve Reich (born in New York in 1936), Terry Riley (born in California in 1935) and La Monte Young (born in Idaho in 1935). Nevertheless, the classification of their works was not suggested by themselves but, as is often the case, by art and music critics. The term Minimal Art appears for the first time in Richard Wollheim’s essay with this very title. As for Minimal Music, however, it is unclear whether the concept was first used to name the Minimalist movement by Michael Nyman (born in London in 1944) in 1968 or by Tom Johnson (born in Colorado in 1939) in 1972.3 Some artists were opposed to subsuming the different approaches under the concept of Minimalism. According to Steve Reich such a musical label does not have a positive impact on musical thinking for it mostly determines who the artist is and defines him. This is what a composer wants to avoid at all costs because he wants to become part of something unknown.

History of Minimal Art

Although in 1967 such an attentive critic as Lucy Lippart helplessly explained that Minimalism was a virgin birth5 the idea of radical reduction as the basic principle of minimal concepts did not emerge with Minimal Art but was already used by Kasimir Malevich in Suprematism around 1912. Malevich’s Black Square on White Ground (1913) exemplifies the reduction of elements to a basic quadratic form, seeming to be detached from the picture itself. There are also concrete analogies with Russian Constructivism in the early 1920s, considering for instance Vladimir Tatlin (born in Moscow in 1885; died therein 1953) and Alexander Rodtschenko (born in St. Petersburg in 1891; died in

Moscow in 1956) who wanted to integrate industrial production into an artistic environment. Further approaches, though not so much in an aesthetic but in a more conceptual way, were taken by Marcel Duchamp (born in Blainville-Creon in 1887; died near Paris in 1968) who provoked a far-reaching scandal in the art world with his Readymades already in 1914. In Duchamp’s view the definition of art should include the selection of materials used. Following this definition, he simply exhibits

a urinal named Fountain in a museum. The reduction of his artistic work

reveals clear parallels to Minimal Art and especially Duchamp’s art criticism is very closely tied to Minimalism. However, at a closer look slight differences can be found. Duchamp tries to convert the existing conventions in the art world into subjects of irony, whereas Minimal Art aims at revolutionising them. The art historian Irving Sandler, too, describes it as an art that is exclusively created to criticise art, without any other purpose.6 This intended possibility of Non-Art holds also true for Pop Art, emerging at the same time as Minimalist approaches

to art in around 1962. Yet, only from 1965 onwards attention is drawn

to Minimal Art in larger exhibitions in New York. While Pop Art elevates objects of mass culture to objects of art, this concept is totally rejected in Minimal Art. Contrary to contemplating previous movements that had an impact on Minimal Art, it does not appear reasonable to go into detail concerning the history of Minimal Art itself at this point, as conventional art chronologies do not live up to the expectations of a differentiated discussion of this topic. In this context, the art critic Peter Schjeldahl is worth mentioning who is of the opinion that the history of Minimal Art cannot yet be written as it is still not finished.7 This remark

dating from the year 1984 is still true and confirmed by the fact that, above all,formal criteria of Minimal Art are still applied in architecture and design. By contrast, Minimal Music has had a relatively low impact on comparable movements in other fields.

 

1 Lippert, Werner: 1965. Fragmente einer Reise durch die Kunst. 1975. In: Kunsthalle

Bielefeld (ed.), Concept Art, Minimal Art, Arte Povera, Land Art. Marzona

Collection. Bielefeld 1990, p. 29.

2 Urmetzer, Reinhold: Abschied von der Kopfmusik. In: NZ 12/1984, p. 18.

3 Schaefer, John: New Sounds. A Listener’s Guide to New Music. New York 1987,

p. 64.

4 Lovisa, Fabian R.: minimal-music. Darmstadt 1996, p. 15.

5 Stemmrich, Gregor (ed.): Minimal Art. Eine kritische Retrospektive. Dresden/

Basel 1995, p. 559.

6 Gibson, Eric: Was Minimalist art a political movement? In: The New Criterion,

Vol. 5, No. 9, May 1987, p. 63.

7 Schjeldahl, Peter: Minimalism. In: Art of Our Time: The Saatchi Collection, Vol. 1.

New York 1984, p. 17.

8 Adorno, Theodor W.: Philosophie der neuen Musik. Frankfurt am Main 1976,

p. 46.

9 Glaser, Bruce: Questions to Stella and Judd. In: Art News, Vol. 65, No. 5, September

1966, p. 58.

10 Heere, Heribert: Ad Reinhardt und die Tradition der Moderne. Frankfurt am

Main 1986, p. 44.

11 Schwarz, K. Robert: Minimalists. London 1996, p. 9.

12 Schoenberg, Arnold: Probleme des Kunstunterrichts. In: Musikalisches Taschenbuch

1911, Vol. 2., Vienna 1911.

13 Gibson, Eric: Was Minimalist art a political movement? In: The New Criterion,

Vol. 5, No. 9, May 1987, p. 63.

 

Text From:CHRISTIAN SCHREI,MINIMAL

Arvo Pärt

Arvo Pärt (born September 11, 1935 in Paide, Estonia), (IPA: [ˈɑr̺vɔ ˈpær̺t]) is Estonia’s most renowned composer, working in a minimalist style

listen

 

Empire

 

 One early example is Hurlements en

faveur de Sade (1952) from Guy-Ernest Debord, where a black and a white screen

are shown alternately over a period of 80 minutes. During the white scenes texts

of laws, newspaper notices etc. are recited.3 However, Debord cannot be considered

a Minimalist artist. He was closely connected with the Situationist International,

a radical group of artists who stuck to a strongly political programme

between 1957 and 1972. In Minimal Art, however, all forms of political commitment

were substituted by concentrating on aesthetics.

About 10 years later Andy Warhol’s film Empire (1963) shows the filming of the

Empire State Building in New York from the 44th floor of the Time Life Buildingfor a period of eight hours. He maintains the same camera position and angle

throughout the whole film. As the object itself does not change and there is no

sound track the lighting conditions are the only changing element in the film

but are also reduced to a minimum by the use of black and white as well as by

the fact that the image changes only slightly.

Similar to Debord, Warhol’s film stands out from the rest of his works as an

extraordinary piece of art which laid the basis for Pop Art. Although his artistic

movement evolved at the same time as Minimalism, it clearly distances itself

from the latter by elevating mass phenomena to works of art.