we had to walk round Barnsley and take photos of skylines and spaces in between buildings the we thought was interesting, I enjoyed taking photos of the skylines as I admire the different shapes of the buildings, after taking photos we went to the civic to look at the Matisse exhibition, I enjoy his work, I like the colours and how he places the shapes together to create his work. 

Jonathon Borofsky

Jonathan Borofsky's most famous works, at least among the general public, are his Hammering Man sculptures. "Hammering Men" have been installed in various cities around the world. The largest Hammering Man is in Seoul, Korea and the second largest is in Frankfurt, Germany. Other Hammering Men are in Basel, Switzerland, Dallas, Denver, Los Angeles, Minneapolis, New York, Seattle, Washington, D.C. and Lillestrom, Norway.

Commissioned by developer Harlan Lee, Borofsky’s 30-foot-tall sculpture Ballerina Clown was erected above the entrance to a drug store in a mixed use, residential and commercial building in Venice, California in 1989. It was motorized so that its right leg would perpetually kick until tenant complaints were lodged about mechanical noise.[5] In 1990, the Newport Harbour Art Museum commissioned Ruby, a 5-foot-tall plastic sculpture containing an internal lighting system and swaying, diamond-shaped light deflectors.

In 1999, three of his Molecule Man sculptures, standing 100 feet tall, were set directly into the Spree River in Berlin as a commission for German insurance company Allianz.

In 2004, the City of Baltimore, through its public arts program, commissioned Jonathan Borofsky to create a sculpture as the centrepiece of a re-designed plaza in front of Penn Station. The work is a 51-foot tall aluminium statue titled Male/Female.

cardboard city

while working in a small group we had to create a fort using cardboard boxes. Our group came up with having six base towers and a roof going over the top. Our fort ideas had to have a link to everybody else's, we succeed, as we make a bridge which attached ours to the others. After we did that, we did a full class activity, where we had to make a pyramid, at the beginning of the  construction we made a square base using small boxes and we slowly built it up layer by layer, using different sized boxed, each layer getting smaller to form a pyramid. We them came up with another idea to pile the big boxes at the bottom and slowly work our way up to the small boxes which will be at the top. later in the workshop we placed a mobile of our wire models, in the middle of the room and put a light in the middle of it to see the shadows When the light was turned on. with cardboard boxes we made a circle wall around it,  We took photos of the light reflecting through the gaps in the cardboard circle.  We then went into the middle of the circle and took photos of the shadows it made on the boxes.

here is a link to some footage of things we did, filmed by Bethany Garner.  https://www.youtube.com/playlist?list=PLrc1WFibgO0me42xFSaQwBJc3iSd11yn8

Zoetrope

The Zoetrope produces the illusion of movement by viewing individual images through narrow slits in a rotating cylinder. The device was created with the name Doedaleum in 1833 by English mathematician William George Horner (1786-1837). The Scottish physicist James Clerk Maxwell improved Horner’s original design in 1868 by introducing concave lenses to the slits, eliminating distortion. Although patents for Zoetrope-like devices were registered in numerous countries from 1867, William F. Lincoln actually patented the name Zoetrope, in 1887, in the United States.

here is a doctor who zoetrope strip I made today, 

Christian Boltanski

"A good work of art can never be read in one way. My work is full of contradictions. An artwork is open—it is the spectators looking at the work who make the piece, using their own background. A lamp in my work might make you think of a police interrogation, but it’s also religious, like a candle. At the same time it alludes to a precious painting, with a single light shining on it. There are many way of looking at the work. It has to be ‘unfocused’ somehow so that everyone can recognize something of their own self when viewing it."

Christian Boltanski has never been associated with a specific art movement, but has received critical acclaim and attention ever since he began working in France in the 1960s. His works often explore the depth of human suffering that was experienced during the Holocaust, with recurring themes including death, memory and loss.

With his installation "Totentanz" (Dance of Death) from the series "Theatre d'Ombres" Christian Boltanski follows up on both his intention of securing evidence, as well as on the old tradition of shadow play