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vinyl art meaning 在 Monster Taipei Facebook 的最讚貼文

2021-06-19 20:00:16 有 201 人按讚

MONSTER TAIPEI INTERNATIONAL LOTTERY全球網路抽選活動
Monster Taipei x A Lei x Yesart Gallery - Agogo & Amigo

Monster Taipei在2016年邀請台灣藝術家－阿咧 (A-Lei) 與日本藝術家中村萌 (Moe Nakamura) 於當年的台北國際玩具創作大展「展中展」聯合展出一場華麗的「土木進行曲」，當時的首度合作受到熱烈迴響，現今兩位藝術家在國際藝術舞台上持續大放異彩，時間回到今年，阿咧受椿畫廊邀請，即將與中村萌及其他七位日本藝術家共同於東京椿畫廊聯合展出，展覽資訊：SPES（拉丁文:希望之意）-9 Artists Group Exhibition- 19 June－ 10 July, 2021

這次 Monster Taipei 與友好單位 Yesart Gallery 意識畫廊繼阿咧首件搪膠作品大象多多後，再次攜手合作推出－”Agogo & Amigo”，並由香港 How2work 團隊製作操刀下，趣味感十足的 Agogo 和小夥伴 Amigo 搪膠作品就此誕生！

實體呈現的造型與細節近似還原了阿咧每件陶塑原作中極具療癒姿態的手感，作品包裝上特別開版手工製作，讓每對狗狗們配有獨棟景觀豪宅，包裝俏皮的粉色外牆皆有印刷阿咧童趣的插畫，絕對值得珍藏！雙犬去年 TTF 搶先曝光隨即引發高度詢問，現在正式超萌吸睛登場！

此件作品將採用全球線上抽選寄送方式販售，想入手的朋友們請繼續查看以下抽選資訊。

抽選販售商品：Agogo & Amigo
藝術家: 阿咧 A-Lei
材質: Vinyl Toy
Limited Edition of 250
Monster Taipei x Yesart Gallery 共同出品
售價: NT.5980/set
尺寸: Agogo: 11cm (H) , Amigo: 7.5cm (H)
*每件作品皆為手工上色，顏色呈現略有不同，請以實品為準。

抽選表單填寫時間：
2021/06/19(六) 20:00 ~ 2021/06/22(二) 20:00

抽選表單連結：
https://forms.gle/wqh9CRa2W1Fvmegz8

販售規則：
1.此商品採線上抽選方式販售，欲參加抽選的朋友請填寫 Google 表單，需登入 Google 帳號，一人一個帳號限填寫一次，如有重複填寫資料者或資料填寫不齊全者將直接取消抽選資格。

2.請於表單開放時間內填寫，逾時不候。

3.抽選將會使用電腦亂數程式隨機抽選，抽選結果將於 2021/06/24(四) 當天 21:00 前以簡訊及 e-mail 通知中選者，未中選者不另行通知。

4.中選者需於收到中選通知後三日內 2021/06/27(日)
結束前完成付款，如中選者未在時間內完成交易將直接取消購買資格並列入永久黑名單，請務必確認是否能在規定時間內付款再參與抽選活動。

5.中選者付款及取貨方式
(1) 台灣地區中選者 : 提供上海商銀帳戶匯款郵寄。 (運費$80)
(2) 海外地區中選者 : 僅提供 PayPal 付款 (需另加 5% PayPal 手續費)，依所在地區的不同，運費金額將會另行估算，隨中選信通知附上運費金額。

6.抽選表單上填寫的收件人及地址無法更改，欲更改者視同放棄購買資格。

7.申請抽選將視為皆已同意以上規則，Monster Taipei 保有最終販售及修改之權利。

Monster Taipei 台北怪獸國際有限公司

In 2016, Monster Taipei invited Taiwanese artist A-Lei and Japanese artist Moe Nakamura to co-exhibition during the Taipei Toy Festival. The two artists continue to shine on the international art scene.
This year, A-Lei is invited by Tsubaki Gallery to exhibit with Moe Nakamura and seven other Japanese artists at Tsubaki Gallery in Tokyo.
Exhibition information: SPES (Latin: Meaning of Hope)
9 Artists Group Exhibition- 19 June - 10 July, 2021

After A-Lei’ s first Designer vinyl work "大象多多 DoDo", Monster Taipei and Yesart Gallery have co-work again recently, producing by Hong Kong How2work team, and the interesting vinyl work “Agogo and Amigo” was born!

The appearance and details approximately re-appears the touch of A-Lei's original pottery sculpture and the healing feeling.
The packaging work is specially hand-made, so that each pair of dogs come with a family landscape mansion. The playful pink walls are all printed with illustrations of A-Lei’s childishness, which are definitely worth collecting! The first TTF exposure of "Agogo & Amigo" last year immediately triggered high levels of asking, and now it is officially released!

"Agogo & Amigo" will be sold by global online lottery delivery, please continue to check the following information.

Lottery merchandise : Agogo & Amigo
Artist : A-Lei
Material : Vinyl Toy
Limited Edition : 250 sets
Presented : Monster Taipei x Yesart Gallery
Price : NT.5980/set
Size : Agogo: 11cm(H), Amigo: 7.5cm(H)
*Each work is hand-painted, and the color is slightly different, please refer to the actual product.

lottery form filling time：
2021/06/19(SAT.) 20:00 ~ 2021/06/22(TUE.) 20:00

Sales rules:
1. This art work is sold by global online lottery. Friends who want to participate in the lottery, please fill out the Google form by your Google account. Each account is limited to one time only. If you fill in the information repeatedly or fill in the information incompletely, you will be directly disqualified from the lottery. .

2. Please fill in the form within the opening hours, overtime filing will not be accepted.

3. The lottery will be randomly selected using a computer random number program. The results of the lottery will be notified on 2021/06/24(THU) by SMS and e-mail before 21:00. Those who lost the chance will not be notified.

4. Winners of the lottery need to complete the payment within three days 2021/06/27(SUN) after receiving the notification. If they didn't complete the payment within the time limit, the purchase qualification will be directly cancelled and be included in the permanent blacklist. Please confirm whether able to pay within the specified time before participating in the lottery.

5. Way of purchase
(1) Winners in Taiwan : Provide Shanghai Commercial Bank Account to remit.( NT$80 for shipping)
(2) Winners from Overseas : Only PayPal payment is available (additional 5% PayPal handling fee is required). Depending on the region, the shipping amount will be estimated separately, and the shipping amount will be attached to the notification.

6. The recipient and address on the lottery form cannot be changed, and those who wish to change will be regard as giving up the qualification.

7. Application for lottery will be deemed to have agreed to the above rules, Monster Taipei reserves the right to final sales and modification.

MONSTER TAIPEI INTERNATIONAL INC.

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Monster Taipei

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● 台北國際玩具創作大展主辦單位 ● 代理品牌日本 MEDICOM TOY 台灣總代理日本 INSTINCTOY 香港 How2work & Kennyswork 香港 Toyzeroplus 台灣野獸國經銷商

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vinyl art meaning 在 YOSHITOMO NARA Facebook 的最佳貼文

By YOSHITOMO NARA

2013-03-29 20:34:22 有 134 人按讚

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

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#30. Vinyl and Polystone: All You Need To Know - Mighty Jaxx

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#31. Definition Of Vinyl And More: What These Words Really Mean

Vinyl records are the classic way to listen to music and get closer to the artists you're passionate about, but it helps to learn the lingo ...

#32. Vinyl Creating Meaning in an Uncertain World

It would be an understatement to argue that 2020 has been a wild year. Not least for those employed within music and the arts, the COVID-19 ...

#33. The best OPM vinyl album art of the past 5 years

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#34. Risk of Rain 2 - DEMIGIANT

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#35. What's your interpretation of the vinyl art for Darkness ... - Reddit

The foregrounding of carnivorous plants (bottom right) certainly obscures the meaning for me. I think the tree is just as likely to be eating ...

#36. The 20 Best Album Covers of All Time - Vectornator

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#37. Angel and Demon - LE Digital Reproduction

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#38. Motivational Vinyl Sticker Quotes Meaning Of Life Inspire Wall ...

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#39. Best Album Covers Of All Time: 40 Of The Most Iconic Record ...

When done right, the best album covers transcend the music they were made for, becoming iconic works of art in their own right…

#40. 5 Tips for Creating the Perfect Album Cover Art - StarryAI

We live in a highly visual environment, meaning it is crucial to create the perfect album cover art for your music. Not only does it provide a visual look ...

#41. Art Pepper Meets The Rhythm Section (Vinyl) | 環球網上商店

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#42. Music Industry Terms Every Artist Should Know - Amuse

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#43. 3 Things You Should Know About Cover Art - TuneCore

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#44. Vintage Vinyl Art Print - Johnny Cupcakes

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#45. The Stories Behind 2022's Best Album Covers - NYLON

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#46. Guns N' Roses Appetite for Destruction: Racy album art facts

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#48. The Musician's Canvas: The Importance of Album Art in the ...

The purpose of album artwork is to capture the identity of the music within. An album's artwork is typically the first thing we experience ...

#49. Vinyl countdown: our writers' favourite album art - The Guardian

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#50. From Salvador Dali to Jeff Koons, a New Show Reveals the ...

"Art & Vinyl" at San Francisco's Fraenkel Gallery showcases a century of surprising album cover collaborations between artists and ...

#51. Roundtable: On the importance of album art

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#52. 'Mellon Collie' Mystery Girl : The Record - NPR

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#53. Mickey Mouse Transformation (Disney100) (10” Vinyl Art

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#54. The Artist Behind Rihanna's Anti Cover Explains What It Means

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#55. The broken record: vinyl, matter, memory and meaning

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#56. Phil Ehart shares 'behind the paintbrush' stories of Kansas ...

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#57. The Ritual of Vinyl - The Imaginative Conservative

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#58. Dust-Free Vinyl Art Eraser - Green - #587122

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#59. Drake and 21 Savage Reveal Cover Artwork for New Album ...

The record was delayed one week after producer Noah “40” Shebib contracted COVID-19 while mixing and mastering the LP.

#60. The Cover Uncovered: 'Wish You Were Here' by Pink Floyd

“Getting burned” was also a common phrase in the music industry, used often by artists denied royalty payments by the greedy record execs. Two ...

#61. Faber-Castell Dust-Free Vinyl Art Eraser Green

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#62. Royal Blood's debut album wins Best Art Vinyl award - NME

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#63. Designing Bon Iver's 22, a Million: An Interview with Eric ...

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#64. What Is The Difference Between Lp And Ep In Music?

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#65. Vinyl Crafting 101 | What Is Vinyl Crafting - Rvinyl

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#67. Pantera's 'Far Beyond Driven': The Story Behind the Screwed ...

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#68. Metro Boomin Shares 'Heroes & Villains' Album Cover

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#71. Pink Floyd Album Art: The Stories Behind 19 Trippy LP Covers

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#72. Taylor Swift's Four Album Covers For 'Midnights' And What ...

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#76. Meet The Artist Who Makes Sonic Art From Vinyl Records

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#77. Etched Vinyl - United Record Pressing

putting etched art on one side might be your solution! Etched Vinyl is an image pressed into an unplayable side of your record which has a frosted ...

#78. 33 Of The Best Hip-Hop Album Covers Ever - Capital XTRA

The cover art for Kanye's auto-tune album '808s & Heartbreak' features a broken heart and was ... Eminem, 'The Marshall Mathers LP' album cover artwork ...

#79. What Is an Album Cover? Definition, Types, Uses - Template.net

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#81. Vinyl - Definition, Meaning & Synonyms - Vocabulary.com

Vinyl is a common type of plastic that's often found on kitchen floors, in plumbing pipes and fittings, and in medical equipment.

#82. The Incredible, Inevitable Shrinking Album Cover

The digital revolution has already reduced record sales, and its impact ... Starting in the late 1960s the album cover developed into an art ...

#83. Music Industry Glossary: 80+ Terms Every Artist Should Know

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#85. Interview: El Huervo on the punchy art of the Absolver OST vinyl

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#86. The Weirdest Album Covers of All Time - Musicnotes

In the heyday of vinyl, followed by CDs, album cover art was just that: an art form. Musicians used the images on their albums to express ...

#87. The Art Of Turntablism | History Detectives - PBS

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#88. EP's, LP's, Albums and Mixtapes - marshall.com

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#90. Why 50% Of Artists Prefer Vinyl Releases - Pirate Studios

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#91. Album Art: 10 Iconic Examples - Artland Magazine

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#92. Vinyl Cover Art - Creative Industries Styria

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#93. Hipgnosis' Album Covers From Pink Floyd to Led Zeppelin

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#97. The Story Behind The Velvet Underground's Iconic Banana ...

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#98. What is an EP and why is it the best choice for emerging artists?

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