Dinner & A Movie Assignment Guidelines

Assignment:

Utilize elements and principles to produce a small-scale installation inspired by a movie of your choice. The installation will take the form of a dinner setting for one. Strive for innovation. The dinner setting is a basic format intended to be adapted and interpreted. Final solution exists in an aerial photograph of the installation. 

Important - You are not directly illustrating the movie with three-dimensional objects. You are analyzing the elements and principles of a particular art form (film) to produce a personal artwork that suggests the content and meaning of chosen movie. Your goal is not to have viewer recognize the chosen movie. Your goal is to make an artwork that invites the viewer to consider and investigate ideas. Remember, the viewer may not have seen the movie you chose. The viewer perceives artwork based on their own experiences. 

Also Important  - Final solution in the form of a photograph. Image must be presented in person on the due date for work to be considered turned in on time. Those who do not present images in person will receive a late grade for this assignment.  

Objective:

• Recognize elements and principles as well as content and meaning in an existing art form (chosen movie). Use this info to develop a personal idea. 
• Apply elements and principles in three-dimension to achieve a final solution that exists as a digital image. 

Materials:

Items from nature and/or your home and/or any other material you deem necessary. 

Inspiration:

See right column for "Dinner & A Movie Inspiration" and "Dinner & A Movie Color Palette". Right column usually does not appear if you are viewing this blog on a phone. Scroll to bottom of page and click on "Web Version". 

Student Examples:

See right column for "Dinner & A Movie Student Examples". Right column usually does not appear if you are viewing this blog on a phone. Scroll to bottom of page and click on "Web Version". 

Guidelines:

·      The movie is a starting point for content. For examples, if the movie includes ideas/characters related to science, your dinner setting can take on a “scientific theme” while utilizing the elements and principles you observed in the movie.

·      Avoid clichés. Avoid predictable solutions. 

·      Do not simply "illustrate" the content of the movie with objects. 

The installation will take the form of a dinner table setting for one person and must include at least six (6) objects. 

·      The dinner setting arrangement serves as a foundation. You do not have to use traditional objects. If you do use traditional objects it is because these objects visually communicate your idea AND the objects are used with innovation. You want the installation to tell a story – a story that the viewer has to mentally investigate. Consider, table setting designs vary among cultures - how can you use cultural information to communicate your idea. 

·      The installation will occupy a surface area that measures approximately 24” x 20”.  

·      The final solution will be photographed from above, aerial view. Crop in tightly so only the installation occupies the picture plane. 

·      Use objects that you have at home and/or from nature. Use with innovation. 

·      You have the option to alter objects – paint, break, break and reassemble, stitch, wrap with string. You can also manipulate food items. 

• You may digitally enhance final photo. 

Ideas For The Surface:

·      The surface is the area where the dinner setting will be placed and photographed. The surface area is a significant component of the final solution. 

·      Set up outside – In the grass, a pile of leaves, concrete, picnic table. Note – could be difficult to photograph with shadows from the sun. 

·      Set up inside – Since the entire surface will not be included in the photograph, you have many options. Look for surfaces in your home that can support your idea or create your own surface. Look in your closet – can patterns on clothes support your idea? If so you can spread out a garment and use as “tablecloth”. Or maybe you can weave together ties or belts? 

·      Adapt items from outside – Weave/stack sticks. Weave palm fronds. Create a bed of flowers. Make sure no bugs on items before bringing inside. Sticks have many options. For instance, what if you peeled the bark and sanded? Tie or wrap the sticks with another material? Or you can paint the sticks.

Step 1, Top of the creative funnel cloud. 

• Select two movies. 
• Complete Concept Development Packet (word and PDF document sent to students via email). 
• When completing packet, push beyond predictable solutions. For instance, if you wish to communicate a feeling of sadness, what color/textures/shapes can communicate this emotion? Perhaps you select white/smooth/organic. These descriptions can then lead to an idea of a white, rounded cup/mug, placed on its side with a spilled liquid or paper cut to resemble a spill or objects arranged to suggest a spill.  

Step 2, Moving down the creative funnel cloud, still near top.

• Bring completed Concept Development Packet to class and brainstorm/share ideas with classmates. 

Step 3, Middle of creative funnel cloud. 

• Review ideas, consolidate, expand.
• Decide which movie you want to use as inspiration.
• Gather materials needed.

Step 4, Near the bottom of creative funnel cloud. 

• Begin assembling, try out several ideas. 

Step 5, Moving closer to the bottom of creative funnel cloud. 

• Photograph various solutions.
• Post all ideas on your blog. Share these images with the class to gain feedback. 

Step 6, Bottom of creative funnel cloud. 

• Select one image as the final solution. 
• Optional - Detail images. This may be necessary for some of you. See me if you are not sure. 
• Place this image on your blog to present to the class on due date. 
• Include title of your artwork and name of movie.
• Take notes when presenting. Use this information to write an artist statement. Artist statement due when final completion of blog due (final exam day and time). Post artist statement by this day/time in order to receive credit. 

Post the following information on your blog in the order listed below:

• One image of final solution, aerial view, directly above the installation. 
• Make sure image is cropped tight. 
• Do not include information outside the surface area.

• Title your work. 
• Place title underneath the image. Do not use title of the movie. 
• Underneath the title address the materials. Use this language, "Various objects and materials". 
• Place this info underneath the materials, "Inspired by the movie (insert title of movie and date movie was released). 
• Place title of your work and movie in Italics. 

• An artist statement. 
• DO NOT INCLUDE THE TITLE OF OF THE MOVIE. 
• DO NOT BEGIN WITH "THE ASSIGNMENT WAS..."
• Write about the work you made. Discuss the overall meaning of the work. Examples; "This image explores ideas about...."; "The photograph conveys emotions related to isolation.", "The image is a social commentary on political issues in contemporary culture. Topics such as...."
• Writing should be free of spelling and grammar errors. Use capitalization. 
• Writing should be efficient - do not ramble. Do not submit the first statement you write. Take time to review and edit your writing at least twice. 
• Review statements in "Dinner and A Movie Student Work". A few statements are included with the work, so make sure you scroll through to look at all posts. 

Manipulating Food

Fallen Fruit, Lemonade Stand (installation view), 2014, from Food for Thought at Weatherspoon Art Museum, NC [courtesy of Fallen Fruit]

Source link:

https://www.artpapers.org/art-and-foodbetter-together/

Source Link:

https://www.google.com/search?client=safari&rls=en&q=esther+choi+le+corbuffet&ie=UTF-8&oe=UTF-8

Fluxus Banquet

Figure 4. Colored Meal, Flux New Year's Eve, December 31, 1974. Color slide, 1,5/16 x 1 3/8 in. (2.3 x 3.5 cm). The Gilbert and Lila Silverman Fluxus Collection Archive, The Museum of Modern Art Archives, New York, NY. Photo: Larry Miller. Digital Image ©The Museum of Modern Art/ Licensed by SCALA/Art Resource, New York.

For one Fluxus Banquet, each person brought only foods of a specified color and GM’s chosen color was no-color. He had produced a meal of totally transparent molded gelatins. He somehow reduced the original foods into liquids and then painstakingly distilled them, a drop at  time, into clear liquids to make the gelatins. You could only distinguish what you were eating by the taste which, surprisingly, still remained present – whether beef taste or onion taste, etc. The transparent, hot liquid also tasted just like coffee. 

Source Link:

https://artslb.org/wp-content/uploads/2017/05/The-Readymade-metabolized.pdf

Daniel Spoerri

Spoerri called his relief works tableaux-pièges (picture-traps), because they involved fixing or 'snaring' objects found in chance positions on table tops or in drawers. These were hung vertically on a wall, like conventional pictures, and were intended to create visual discomfort in the viewer. In this work, the remains of a meal are preserved on a wooden board that the artist used as a table while living in a small room in a Paris hotel. The title derives from the book by the Swiss poet Robert Walser (Dichtungen in Prosa, or 'Poems in Prose').

Source link:

https://www.tate.org.uk/art/artworks/spoerri-prose-poems-t03382

Plating

A few pieces of inspiration. More to find online. Google "dinner plating". 

Alma by Juan Amador

Source link:

https://www.timeout.com/singapore/restaurants/alma-by-juan-amador

Source link:

https://www.cntraveller.com/gallery/the-50-best-restaurants-in-the-world-2019

World’s Finest Food Plating on Instagram: 

“"Brioche Childhood" plating by @yblinc photo by @thanoojthampy 

Honey and lemon thyme ice cream by Laurent Jeannin

Source link:

http://www.sogoodmagazine.com/pastry-recipes/honey-and-lemon-thyme-ice-cream-by-laurent-jeannin/

Source link:

https://www.thisiscolossal.com/2014/11/thanksgiving-special-how-famous-artists-would-plate-thanksgiving-dinner/

Hangetsu, or half moon, bento boxes are constructed in an appropriately semicircular shape, which was reportedly the favorite of legendary tea master Sen no Rikyu. Many people find this traditional lacquered bento box shape visually appealing, though packing a lunch in it every day would be a challenge.

Source Link:

https://allabout-japan.com/en/article/280/

Dining Diagrams and Etiquette

Just a few. You can find more online.

Cloak

Figuratively, a cloak may be anything that disguises or conceals something. In many science fiction franchises, such as Star Trek, there are cloaking devices, which provide a way to avoid detection by making objects appear invisible.

Because they keep a person hidden and conceal a weapon, the phrase cloak and dagger has come to refer to espionage and secretive crimes.

Harry Potter, Invisible Cloak

History

Cloak is a clothing item that is worn over the indoor clothing. It protects the wearer from the weather conditions or it is worn as fashionable outfit or as a part of the uniform. Humans used cloaks since the beginning of history in some simpler or more complex form. In time cloaks changed from larger pieces of leather in prehistory to more sophisticated clothing items following the fashion and progress of technology.

First cloaks were used as a blankets or bed coverings as clothing. Earliest cloaks were made of piece of cloth with a hole cut in the center for the head and resembled a poncho. Earliest North Americans often wore no covering on their upper bodies except for cloaks in bad weather. Ancient Romans used them that way as well Scots and Arabs and through the Middle Ages. Roman cloaks were of different styles. There were of short shoulder length styles, hip-length, knee length and ankle length. Style of the cloak depended on the the class and status of the Roman wearing the cloak.

Different types of cloaks had, of course, different names. Simplest style of cloak was paenula and it was worn by both sexes.

Source link: https://world4.eu/roman-paenula-cowl-hood/

Cloak worn by Roman Soldiers and by Roman officers was called sagum. It was simple rectangular piece of heavy material, knee length, which fastened by a metal or leather clasp called “fibula”. Soldiers wore red ones while officers wore scarlet ones. 

The sagum was a garment of note generally worn by members of the Roman military during both the Republic and early Empire. Regarded symbolically as a garment of war by the same tradition which embraced the toga as a garment of peace,^[1] it was slightly more practical in any event, consisting of a simple rectangular segment of cloth fastened by a leather or perhaps metal clasp and worn on top of the armor. The fabric was made of unwashed wool, saturated with lanolin (which made it water-resistant); it was traditionally dyed bright red.

Purple cloak, which was fastened by a large brooch on one shoulder, called lacerna was worn by generals. Purple color visually distinguished a general from other officers.

Lacerna

Roman senators also wore lacerna over their toga. Emperors of Rome wore paludamentum which was an expensive ankle length cloak fastened with a gold or jewelled clasp or brooch. Leana was a thick, round woolen cloak that Roman priests wore. Palliuim was a style of colorful decorated cloak that was reserved for the wealthy. All these cloaks were simple in design and it was not until the Renaissance that tailored cloaks were worn. Some cloaks have hoods and some are made so they cover the front, in which case they have holes or slits for the hands to pass through.

Cardinal or scarlet hooded cloak was very popular in the 18th century Britain. It was made of scarlet wool cloth which was double milled to make it resilient to weather. Scarlet was just a name for a cloak and it was also was also available in other colors. In time cloak styles become shorter and in the 1890s, hip-length mantelets were modern. Materials from which cloaks were made became broader and for cloaks were used wool, satin, silk, pleated chiffon, velvet, lace and taffeta fabrics. By the 1900s coats replaced cloaks but not totally. Coats become evening wear instead all-purpose as they were until then. In 1950s they again become day wear and were made of tweed and mohair. They soon fall out of fashion after that. From then until today they are worn on special occasions.

Source link: http://www.historyofclothing.com/clothing-history/cloak/

Cope

The cope  is a liturgical vestment, more precisely a long mantle or cloak, open in front and fastened at the breast with a band or clasp. 

A cope may be worn by any rank of the clergy, and also by lay ministers in certain circumstances. If worn by a bishop, it is generally accompanied by a mitre. The clasp, which is often highly ornamented, is called a morse. In art, angels are often shown wearing copes, especially in Early Netherlandish painting.

The Annunciation, Jan van Eyck

1434 - 1436

Oil transferred from wood to canvas.

The Archangel Gabriel wears a rich cope with a huge jewelled morse.

History of Fashion

LINDSEY WIXSON WEARING COAT CÉLINE, SHOES MANOLO BLAHNIK

MAX VON GUMPPENBERG AND PATRICK BIENERT

WOMAN WEARING A CAPE TO THE ASCOT RACES IN 1923

GETTY IMAGES

Source Link:

https://www.crfashionbook.com/fashion/a25299543/history-of-capes-fashion/

Ruizgalan, Designer

Source Link:

https://www.notjustalabel.com/ruizgalan

Hannah Brabon, Designer

For her final graduate collection, Hannah initially looked towards the natural world for inspiration, focusing specifically at images of water that has been polluted by dye and ink waste of the textiles industry, as well as researching the effects that these environmental issues have on the surrounding communities. Hannah developed her colour palette from her own photographs of landscapes; these photographs also informed her yarn and fabric choices throughout the collection. The textural qualities of natural forms such as water and mountains inspired the sense of pattern, line and shape throughout the collection.

Hannah’s interest in clothing with a long life lead her to initially focus on using pre-loved denim and transforming it into something new and innovative, that somebody else can enjoy. She is inspired by the history of denim and how denim has been a part of the lives of so many people; from a vast array of sub-cultures and classes in societies throughout the centuries. From ancient Japanese Boro textiles to present day casual wear, Hannah is fascinated by the stories behind the clothing that people wear.

Source Link:
https://www.artsthread.com/portfolios/deconstructeddenim/

Hannah Podbury, Designer

Source link:

https://wgsn.tumblr.com/post/52370391501/hannah-podbury-presented-extreme-knitting-for-her

Herzlich willkommen

Source link:
https://hauskleider.miningbtc.me/log-in-hauskleider-log-2/

Janos Stekovics, Photographer

Hungarian farmers from the Puszta in the 1980s. Photographing with large size 13x 18 cm.

Editor’s note: Janos Stekovics is a Hungarian photographer and publisher based in Germany. This is a collection of portraits he took of twin farmers in the 1980s. The Lukács twins were 63 years old when the photographer visited their village to photograph them.

The twins János and István lived in the Hungarian Puszta region and had loads of duplicate things: two bicycles, two traditional shepherd cloaks, two horse-drawn carriages and the same clothes, which often lasted for twenty years or more. They both spent their entire lives on a homestead 5 kilometers away from the nearest motor way and almost unreachable. They didn’t smoke or drink and had some farm animals, a well and no electricity – nor did they need it.

The pictures were published in a book called “Die Junggesellen”.

More info: puszta.stekofoto.com

Source Link:

https://www.boredpanda.com/the-twins/?utm_source=pinterest&utm_medium=social&utm_campaign=organic

Kappa (Rain Cloak)

This is a Rain cloak (kappa). We acquired it in 2009. Its medium is cotton (recycled fiber) and its technique is plain weave. It is a part of the Textiles Department department.

Resourcefulness has been a key component of Japanese life for centuries. In design, one sees this most dramatically with materials and objects being repurposed, recycled, or reused. Hikimawashi kappa, which literally means a pull-around (hikimawashi) cape or raincoat (kappa), is made from leftover and/or broken indigo-dyed threads (zanshi-ori) salvaged from home production or from local commercial weavers. Cotton thread was valuable during the 19th century in rural Japan and none was wasted, regardless of how rough or worn it was. For instance, if the lengths of yarn were not long enough, they were simply knotted together to create a longer strand. Because of the use of highly varied remnant threads in the weft, combined with a more regulated warp, an overall pattern of irregular striations is created. Not only does this raincoat boast a unique composition, but it also reflects a spirit of eco-friendly and sustainable textiles and the idea of constantly finding ways to repurpose materials at hand, with nothing wasted in production.
This type of raincoat is modeled on the Capa overcoat, which Spanish missionaries wore in the Momoyama era (1573–1615). The raincoat would originally have been made waterproof with oil paper, which would have been encased between the lining and the outer layer.

This object was donated by General Acquisitions Endowment.

Source Link:

https://collection.cooperhewitt.org/objects/18732719/