This series by photographer Thomas Herbrich is staggeringly brilliant. Over a period of three years, he culled his Smoke series down from some 100,000 photographs of beautiful plumes of smoke to just 20 that he was satisfied with, all of which were taken using camera flash speeds of 1/10000 or faster to discover unusual, sometimes recognizable shapes in the organic patterns.
Looking at Tonya Corkey’s art you might be mistaken for thinking these are just ordinary canvases with a bit of paint splattered onto them. But look closely and you’ll realize that Corkey has developed a very peculiar way of making her portraits. She uses dryer lint. Her latest project is called ‘See You in the Future’ and ‘takes inspiration from found vintage photographs of anonymous people’. Each portrait involves a heavy layer of lint, each one in different hues to bring on an incredible shadowy effect. Wondering why she uses lint? Corkey explains:
‘My work hybridizes the discarded material of lint with the second hand image – the iconic school photograph – to conceptualize my interests. Materiality conceptually layers the work. As a byproduct of society, lint consists of fibers, hair, dead skin and other debris, and thus directly referencing people and their daily activity. Lint and cast off photographs are both discarded materials – materials that reflect the idea of a decaying memory. Our desire for memory in absence is triggered by sensations of smell and touch, a trait of my work. The void spaces of raw canvas in works such as,“Unknown #1” are intended to reflect memory, described through the standing out of key features: the eyes, mouth and hair. The viewer’s mind fills in these void spaces in the same way a photograph would’.
David Ellis finds ways to incorporate the environment that humanity has continuously distanced itself from and remix his own spirit back into the portrayal. Ellis builds out his signature patterns and swirls and paints himself into the work. His stereo producing trees and animals howling graphic rays depict the similarities between us and them and the free flowing necessity to engage in animalistic behavior and perhaps embrace the rhythmic, and sometimes tense dance, between what is natural and what is constructed.
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Yesterday marked the conclusion of the 47th annual West Indian Day Carnival — a two-mile-long Labor Day parade that runs along Brooklyn’s Eastern Parkway through Crown Heights, drawing more than 1 million performers and spectators. This year’s festivities included the usual jubilant Caribbean music and dance celebrations, as well as a special performance of the de Blasio “Smackdown.”
Olaf Breuning's ”The Art Freaks,” is a group of color photographs transposing the signature styles of seminal 20th-century artists into prosaic body painting. Both humorous and uncanny, the series not only questions our relationship to the enduring artworks Breuning chose to reference, but also to the reproductions and consumable patina through which most of us experience these artists’ works and their distinctive aesthetics.
via Metro Pictures Gallery
Christopher Conn Askew is the creator of Sekret City, a name that Christopher says refers to the secret little city that he keeps inside. His own inner world of dreams and nightmares, desires and fears, and most of all his questions and mysteries. This city is populated by martyrs, talking animals, gods and goddesses, soldiers, whores, saints, thieves, suicides and monks. Christopher’s paintings are created with watercolor, ink and graphite for the most part. He also says that he has, in the past, used small amounts of his own blood, spit or even human ashes (not his own, yet) to complete his works.
Michelle Hinebrook's paintings are infused with an understanding of optics and geometry as well as painterly intuition. Attempting to capture movement, within a deep, dynamic space with kaleidoscopic explosions of color and shape. She begins constructing compositions using a computer, ruler and airbrush, drawing hard-edge geometric shapes. She then balances these hard-edge elements with hand-drawn lines, painted fragments and loose gestures, this process reveals subtle manipulations in surface and texture.
"I’d like the viewer to have an experience of the infinite, to peer into the mysterious networks of shapes and have a moment when the borders of the painting fall away a little, leaving them in a visionary, reflective state of mind."
You’ve got to see these beautifully detailed illustrations by Clog Two for several Teenage Mutant Ninja Turtle characters. This series of art is extremely awesome. I love the style of these characters, and each one features some amazing artistic details that make them pop. The characters include Leonardo, Donatello, Michelangelo, Rafael, Splinter, Shredder, Rocksteady, Bebop, and Krang.
Shared from www.geektyrant.com
In the series Time Slice, photographer Richard Silver documents the appearance of iconic tourist spots as it changes from day to night. He shot over 36 photos throughout the day and combined them all into one image. Some of the sights he’s covered are the Roman Collosseum in Italy, Hagia Sophia in Turkey, and Birds Nest in China.
Here are some fun behind-the-scenes of the 1968 science fiction film Barbarella. I’m primarily posting these images because of the amazing costumes and because everyone is just so gosh darned gorgeous. Talk about intergalactic glamor. How could it ever be topped? Sci-fi babes and boys at their finest.
We’re absolutely loving the bizarre mashed-up world of Ffo, who uses anatomical cutouts in conjuction with traditional pinup imagery to create an off-kilter world of erotic scientifics. A master of collage, Ffo revamps the romantic aesthetic of the fifties bombshell, making it grotesque and fresh.
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One of the very best things about Burning Man, the week-long, post-apocalyptic celebration of creative expression that pops up in the Nevada desert each August, is the awe-inspiring collection of art on display. The installations and the “art cars” roaming through the two-mile stretch of temporary city render humanity’s capacity for imagination limitless. Where else in the universe would a giant, fire-breathing steampunk octopus glide past a 55-foot tall, LED-powered homage to the female form?
Shared from http://www.huffingtonpost.com/2014/07/30/burning-man-2014-art_n_5632531.html & http://www.mymodernmet.com/profiles/blogs/marco-cochrane-truth-in-beauty
The Portugese Man-Of-War is well-known for its deadly sting, but there is a whole other side to the creature rarely seen. Ex-US military combat photographer Aaron Ansarov has been collecting stranded man-of-war on a Florida beach in order to study and photograph them. Rather than a single organism, a Man-Of-War is actually a colony of smaller creatures that are genetically identical, highly specialised and band together to create a larger and more complex being.
Unlike other siphonophores, the Man-Of-War actively propels around the ocean by using its ‘sail’. This specially developed organ allows it to traverse the surface of the sea in search of prey while dangling tentacles hang down as far as nine metres, each with deadly barbs to trap fish and shrimp.
There are many questions surrounding the nature of Portugese Man-Of-War and many of them have yet to be answered. Ansarov’s startling series certainly draws attention to their beauty, something so often obscured by talk of their fatal sting.
Photographer Silvia Grav achieves a brilliant, dreamlike aesthetic by appropriating techniques that include superimposition, multiple exposure and solarization. The outcome is a captivatingly dark, surreal exploration and study of subjective interposition. Questions are tacitly posed through her images: How does one interpret? What are the affects of dreams on the unconscious and conscious alike? How does time and thought affect memory? As a result, her photographs tend to function like condensed narrations suspended between empiricism and mental projection.
"I never quite know how to explain it. Aesthetically, I love analogue photography- dirty, scratched. I’ve been obsessed with the black & White that old photographs possess since I’ve discovered photography, but I don’t know why. I see very clear when I find beautiful imagery, but I ignore why I’ve acquired my style. I think that this is unconscious, a set of many influences that are impossible to differentiate."
text by Algernon Felice Jr
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