Download Origami to Astonish and Amuse by Jeremy Shafer PDF

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  • April 20, 2017
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By Jeremy Shafer

Think folding a bit of paper into nail clippers that truly paintings, or a Swiss military knife that really opens, or a surfer on a wave that crashes whilst the surfer is slid forward...There's little need to imagine-this is for real!

In Origami to Astonish and Amuse Jeremy Shafer has taken the artwork of paper folding in a completely new course. choked with hundreds of thousands of wonderful versions and folding principles, starting from amazingly basic to ridiculously advanced, this can be origami at its most enjoyable and creative.

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Additional resources for Origami to Astonish and Amuse

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50 As we shall see, his experimentation with graphic design and advertising first led him to question the necessity of the frame for determining and fixing these relationships. And this work ultimately precipitated his creation of the Merzbau, with which he would reject his early injunction for “an artwork that rests in itself” and completely reverse his initial priorities for Merz. Once we recognize the analogy—even equivalence—between edge and frame, we ask ourselves: Could these internal harmonious relationships be otherwise configured?

In a community of known and unknown quantities, the secret rests in the fact that when you change what is known, you also change the unknown. 54 [ 23 ] introduction The ultimate task of Merz to “form the whole world as an artwork” must remain an unattainable utopian possibility; otherwise it would negate that which brought it into being. For Merz to exist at all, this total synthesis of art and world must be infinitely deferred. At the very moment when Schwitters argued for a total fusion of the individual arts (“There are no individual arts; they are artificially separated from each other.

32 Historians have devised tenacious stylistic categories to organize his incorrigibly diverse work, dividing Merz into “Dada” and “Constructivist” periods that coincide roughly with his use of found objects and his experimentation with geometric abstraction, respectively. This binary leaves no place for his work after 1930, however, and there is scant room for a trenchant investigation of sculpture within an interpretive schema that consistently favors his pictorial compositions in collage and assemblage.

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