Claes Oldenburg and Coosje van Bruggen

Spoonbridge and Cherry, 1985-1988
aluminum, stainless steel, paint

Shuttlecock/Blueberry Pies I and II (detail), 1999

Apple Core, Israel Museum Art Garden

Meret Oppenheim

Object (cup and fur)

Squirrel , 1969

Richard Paul Lohse

http://www.lohse.ch//
20th century systematic-constructive art

Sechs Serigrafien

Anna Skibska

Celestial Landscape...Staircase, Anna Skibska

Follow the Line: The Path to Form

Openly #1

Shawna Hanel

So here's a site of photography by Shawna Hanel called Lightwriting. She's an adjunct photo professor at BSU. I really like her stuff and can relate to some of it.

These are from her portfolio "Idaho State Fair".

Switchback, Shawna Hanel

Swinger II, Shawna Hanel

I can totally respect her appreciation of light and capturing its movement through time. And I really like that some of these are about the design that is created and not just what the object was that created it. 

My own unaltered photos that I did Oct 2008:

Untitled, Toby Borup, 2008

Untitled, Toby Borup, 2008

 The process and result of these were somewhat accidentally discovered. I was sitting on the couch at the house of some friends and I decided to dangle my point and shoot camera by its strap, spin it, and let it take 10 consecutive shots by itself. Then my friend Tasha sitting next to me started bumping it with a balloon causing it to spin and wiggle. I was very pleasantly surprised how they looked.

Shawna also apparently likes macro shots and how things look up close. These next shots are from her "inheritance" portfolio.

Shawna Hanel

Shawna Hanel

The next set are from her "invisible hands" portfolio.

Petrolium By-product II, Shawna Hanel

Walk, Shawna Hanel

Here are some of my own:

Untitled, Toby Borup 2008

Untitled, Toby Borup 2008

Untitled, Toby Borup 2008

Untitled, Toby Borup 2009

Cornelia Parker

• Breathless, 2001
• Brass musical instruments, flattened

Basically, I think this is really neat to look at and think about. It is very visually stimulating, but I have mixed feelings about looking at all these musical instruments all smashed up. I'm hoping that they each had some kind of defect that made them unplayable because I used to be in bed, and by bed I mean band (I don't know why I accidentally wrote bed), and musical instruments hold a lot of value, monetarily and otherwise, in my opinion.
Thanks for smashing what is dear to my heart, dear Ms Parker. But you do have good eyes for aesthetically pleasing displays.

• Perpetual Canon, 2004
• Flattened brass band instruments suspended

• Cold Dark Matter: An Exploded View, 1991
• A garden shed and contents blown up
• 
  
• I really like the idea of suspending objects relative to eachother in the air. And I really like this idea of suspending a moment of an action, such as something exploding.

Richard Serra

So there's this guy who used to hurl molten lead into the corner of walls and floors. His name is Richard Serra.

 Not to be confused with Eric Serra, the composer of the Fifth Element soundtrack, which I really love some of.

Apparently the idea behind molten lead chucking against the wall was strictly about the process of what he was doing as opposed to the result. I guess I can respect that.


I like the idee-uh of his free-standing pieces quite a bit so let's look at those.

Fulcrum 1987, 55-foot freestanding sculpture of Cor-ten steel near Liverpool Street station

It's a cool idea to get sculptures to be self-supporting. Seems a tad dangerous, but I assume he's got it all figured out. I don't know if I'd want to just go hang out next to it though in case a strong wind storm came through or something.
It makes me wonder what his thought process was behind this piece. What was his intention with the piece? Did he have a conceptual meaning behind it or did he strictly like the visual qualities of it?
Here's another free-standing piece:

The Matter of Time at the Guggenheim Museum Bilbao

This is a series of 8 pieces on display.  I don't know if it was Serra's intention to focus only on visual qualities of shapes, but I can appreciate that. Sometimes, I really just like the emotional response I get from simple shapes and combination of shapes. Sometimes I prefer to create things of nonrepresentational shapes rather than representational because they evoke emotional responses on their own.