Check this work out:
Looks a bit like a Norman Rockwell painting was superimposed on a photograph, right? Makes you think about the miracle of photoshop.
That’s a real man.
Alexa Meade is a “25-year-old artist whose work lies at the intersection of painting, photography, performance, and installation.” She paints models in the style of 2D paintings and then sets them free, running through our 3D world, re-compressed into the final product we see here. She straddles the split between reality and perception in her art, and makes us question our own knowledge in the process. Her work brings the art of trompe l’oeil into the modern age.
From the Washington Post:
Meade uses a brush. She paints skin on skin, lips on lips and eyebrows on eyebrows, and the insides of nostrils, using her own mixture of nontoxic paints and unspecified ingredients. Her subjects must sit still for multiple hours as she follows the natural contours of their faces, varying brushstroke and color to exhume their inner essence. When she’s done, they appear banished to two-dimensionality, yet they also seem fuller, more dynamic. She then sets her subjects in an installation, or photographs them. There are no touch-ups or special effects beyond acrylic on flesh and the initial complacency of the observer.
Check out her other work here.
The Snow by Tokujin Yushioka is currently installed at the Mori Art Museum in Japan.
The piece is a part of a larger exhibit called “Sensing Nature.”
Inside the 15-meter tank are millions of feathers that float within.
It must be amazing to behold.
These sculptures and stenciled graffiti were created by the artist NeSpoon, who describes her work as “jewelry of the public space.”
In her works, she rejects the classic interpretation of lace and doilies as stuffy, grandmotherly items and attempts to redefine their forms by stenciling them in gritty and/or unexpected locations such as urban streets, Baltic beaches, and public parks.
NeSpoon has succeeded in making once-outdated lace designs urban and contemporary, and in the process has brought new life to dilapidated and dull city streets. To some extent, she has also decreased the gendered associations with lace by engaging the general public with her art, opening lace up to future exploration within art and academia.
Click here for more information (NeSpoon’s personal blog).
This is an image from photographer Gerard Castello-Lopes, a “disciple of Henri Cartier-Bresson.” Although you can see the resemblance between Cartier-Bresson’s images and Castello-Lopes’ images, there is obviously a large disconnect in the modernity of their thought and material.
Castello-Lopes took photographs in a war-torn era accompanied by an overall break with uncontested national pride. The result is a beautiful meditation in modern life, heavily influenced by new forms of media (like film).
Background from Bert’s Kickstarter page:
About. Coded Stories, a documentary film, weaves together contemporary art with indigenous rights to convey the struggle of the Mapuche of Chile to preserve their culture and way of life. After a year of original filming, we are reaching out to supporters to help us raise $25,000 to complete filming in Chile and Los Angeles through October 2012. The goal of Coded Stories is to spread awareness about the plight of the Mapuche, a people whose traditions are under serious threat and to share their beautiful art and culture with a larger audience.
The Story. The film follows artist Guillermo Bert, a Chilean-born, Los Angeles-based artist whose recent work was inspired by the similarities between Mapuche textile patterns and contemporary bar codes (QR codes). Bert’s art raises questions about identity, globalization, modernization, and challenges facing indigenous cultures in the Americas.
Click here to read more on kickstarter.
One of the pieces about which the documentary was made: Poem in Blue, based on a poem by Graciela Huinao, art by Guillermo Bert.
Mapuche Art is what I hope to study as I progress in my Art History career, and this man is doing an incredible job in increasing visibility of the indigenous Mapuche community as well as highlighting their integration with the Modern Chilean nation as well as the international, digitally-enriched world.
I sincerely hope that this project gets fully funded, because I would absolutely love to hear more Bert’s inspiration and art.
Thomas Jackson’s series Emergent Behavior is about expecting the unexpected, photographing “airborne swarms of common objects” in new and unforeseen circumstances.
His work is otherworldly, but hopeful. He employs incredible and sophisticated usage of light and shadow in every work that he creates. The result is magical.
I see a mutant, strange universe in his photographs, a sort of alternate reality that hinges on our own existence for inspiration but easily departs from it.
The images attempt to tap fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary. At the same time, each image is an experiment in juxtaposition. By constructing the pieces from unexpected materials and placing them in environments where they seem least to belong, I aim to tweak the margins of our visual vocabulary, and to invite fresh interpretations of everyday things.
Korean artist Ran Hwang uses buttons, pins, and beads to create enormous murals of birds and cherry blossom trees.
In her words:
My immense wall installations are extremely time consuming and repetitive manual work. This is a form of meditative practice that helps me find my inner peace. Pins are used to hold buttons onto the surface to form a silhouetted image, or to disintegrate such image. No adhesive is used so the buttons are free to stay and move, which implies the genetic human tendency to be irresolute. I use buttons because they are common and ordinary, like the existence of human beings.
I create large icons such as a Buddha or a traditional vase, using materials from the fashion industry. The process of building large installations are time consuming and repetitive and it requires manual effort which provides a form of self-meditation. I hammer thousands of pins into a wall like a monk who, facing the wall, practices Zen.
I think that the choice to use these materials to create figures such as birds is stunning–the way that she creates them make them look as if they are about to take flight, an amazing conclusion to make when you see the buttons up close (see here). Perhaps her zen-like creative state is how she truly achieves this.
A piece from one of Ecuador's preeminent contemporary artists.
I spend a lot of time browsing architecture websites for no good reason at all, really.
These are some of my favorites.
Junta Castillo Leon Offices, Alberto Camp Baeza, Spain
Image 1 of 2: Pael House, Chile. This is my boyfriend’s uncle’s house, and during the record-shattering earthquakes, they hardly felt a thing inside.
Image 2 of 2
“The Vertical House,” Paris, France. For more information/pictures, click through link.
TVERRFJELLHYTTA BY SNØHETTA
Maison à Vitznau, Lischer Partner Architekten
Found via the online art journal, Anarty: http://anartyblog.wordpress.com
Cecilia Paredes is a Peruvian artist who paints herself (i.e. her own skin) into the lush flora of various wallpapers behind her. Paredes describes it as an extension of her search for identity after a life of “displacement and migration.”
In many of her works, her hair and/or her eyes are often the only element present that betrays her presence: the wallpaper’s harmony is broken by the slight mismatch of lines and white pop of Paredes’ stare. Despite how it may appear at first glance, Paredes is, in fact, a part of the visual landscape, the representation of herself life-size within the 4’x 4′ frame.
Paredes exemplifies the issues of identity often seen within modern Latin American art: from Pepón Osorio, who struggles to evaluate his role within a Puerto Rican community as a black man and again as a Puerto Rican within the states, and Michael Manjarris, whose work reflects his mixed upbringing as both a Mexican and American citizen (even his name drops the Spanish pronunciation: man-harris becomes man-gerris), to larger concepts of identification as a nation that are common in the work of artists such as Fernando Botero and Diego Rivera. Anarty also likens her work to that of Frida Kahlo in visual style.
(But I still wonder if there is a link between her last name (Paredes is wall in Spanish) and chosen subject matter… no mention in any websites as of yet.)