Sunday, December 30, 2012
Saturday, December 08, 2012
fastcodesign:Freaky face sculptures made out of dismembered...
fastcodesign:
Freaky face sculptures made out of dismembered...:
fastcodesign:
Freaky face sculptures made out of dismembered...:
fastcodesign:
Freaky face sculptures made out of dismembered doll parts.
Tuesday, December 04, 2012
Sunday, November 11, 2012
Thursday, October 11, 2012
cruisingwithgunhead:Cybernetic Samurai by Dimmerswitch on...
cruisingwithgunhead:
Cybernetic Samurai by Dimmerswitch on...:
cruisingwithgunhead:
Cybernetic Samurai by Dimmerswitch on...:
cruisingwithgunhead:
Cybernetic Samurai by Dimmerswitch on Flickr.Where was this in my childhood?!?!?!?
Never heard of this. Looks pretty pulpy.
Tuesday, September 18, 2012
Deconstructed Cities by Tim White Sobieski [More Here]
Deconstructed Cities by Tim White Sobieski
[More Here]:
Deconstructed Cities by Tim White Sobieski
[More Here]
[More Here]:
Deconstructed Cities by Tim White Sobieski
[More Here]
Thursday, September 13, 2012
City of Illusion by Koo Bonseok (구본석展) Art that creates...
City of Illusion by Koo Bonseok (구본석展)
Art that creates...:
City of Illusion by Koo Bonseok (구본석展)
Art that creates cityscapes from arranged perforations on surface visible from back-light.
More Here
Art that creates...:
City of Illusion by Koo Bonseok (구본석展)
Art that creates cityscapes from arranged perforations on surface visible from back-light.
More Here
Thursday, September 06, 2012
Friday, August 31, 2012
Monday, August 13, 2012
Wednesday, August 08, 2012
We chose to jump into the chasm and other stories
(title unknown):
»Untitled (Friday 9. 09. 2006)«, 2008; »Untitled (Tuesday 14. 11. 2006)«, 2008 and »Untitled (Friday 2. 12. 2005)«, 2008, from the series »Time Exposure« by Ioana Nemes.
»Untitled (Friday 9. 09. 2006)«, 2008; »Untitled (Tuesday 14. 11. 2006)«, 2008 and »Untitled (Friday 2. 12. 2005)«, 2008, from the series »Time Exposure« by Ioana Nemes.
Monday, August 06, 2012
Sunlight Graffiti Part of the Little Sun project by Olafur...
Sunlight Graffiti
Part of the Little Sun project by Olafur...:
Sunlight Graffiti
Part of the Little Sun project by Olafur Eliasson currently running at the Tate Modern, where participators can create their own light graffiti and locate it online via an interactive sphere:
Part of the Little Sun project by Olafur...:
Sunlight Graffiti
Part of the Little Sun project by Olafur Eliasson currently running at the Tate Modern, where participators can create their own light graffiti and locate it online via an interactive sphere:
The Sunlight Graffiti sphere is by artist Olafur Eliasson, conceived as part of his larger Little Sun project. Little Sun, a work of art that works in life, is a solar-powered lamp that Eliasson has developed with the engineer Frederik Ottesen. The lantern is one element of the artwork, but the way it connects us and what it tells us about energy and energy access is all part of the art.You can look around the interactive light graffiti globe online here
Currently, an interactive Sunlight Graffiti installation is set up at Tate Modern, London, on level 2 as part of the museum’s Poetry and Dream exhibition (28 July – 23 September 2012). Visitors are invited to do a work of art here by dancing, jumping, and writing out loud with a Little Sun in their hand. Their Sunlight Graffiti are captured and uploaded to this site and shown as part of the sphere.
Also presented at Tate Modern is Eliasson’s new artwork Your light movement, 2012, a video about physical movement, light, and life. Watch it here.
‘For this project at Tate Modern – the former power station turned into a museum – I have thought a lot about light as something that is more than just a means to illuminate something else. Light generates action. The Sunlight Graffiti project has been developed to foster human creativity and movement, driven by the power of light.
Little Sun responds to the situation we face today, where natural resources no longer abound. Energy shortage and unequal energy distribution make it necessary to reconsider how our life-sustaining systems function. I see Little Sun as the wedge to open up this urgent discussion from the perspective of art, to raise awareness about the need to improve energy access and the distribution of energy today.’
–Olafur Eliasson
Thursday, July 26, 2012
Van Gogh From Space Top image was voted winner of ‘Earth...
Van Gogh From Space
Top image was voted winner of ‘Earth...:
Van Gogh From Space
Top image was voted winner of ‘Earth as Art’ competition held by NASA and the US Geological Survey, a satellite image over Gotland in the Baltic Sea where streams of phytoplankton swirl in the waters around the Swedish island.
Top image was voted winner of ‘Earth...:
Van Gogh From Space
Top image was voted winner of ‘Earth as Art’ competition held by NASA and the US Geological Survey, a satellite image over Gotland in the Baltic Sea where streams of phytoplankton swirl in the waters around the Swedish island.
Tuesday, July 03, 2012
Here Are 10 GIFs That Will Restore Your Faith in GIFs
Here Are 10 GIFs That Will Restore Your Faith in GIFs:
Matthew DiVito's animated GIFs would be right at home at MoMA.
The animated GIF is one of the purest forms we have of Internet-native artistry. It is almost always ridiculous and almost always wondrous, and that is because at its best it is almost always the product of a knowing amateur. In that, it is much like the Internet itself. And yet the GIF, bless its GIFy heart, knows its place: it exists almost solely to make already-funny images of Michael J. Fox and Homer J. Simpson and Pulp Fiction and Mean Girls and corgis and cats even more hilarious.
But: almost solely. GIFs can also become, when they choose to be, things of remarkable beauty. And few things demonstrate that more clearly than the work of Matthew DiVito, who is a freelance graphic designer and, as a side job, an animator of GIFs. In 2011, DiVito wanted some extra practice with Cinema 4D. So he started creating animations -- GIFs whose purpose was not to provide ironic commentary on current events, but to provide beauty itself. DiVito began cataloguing his mesmerizing creations on Tumblr, where he has since built up a large and loyal following for his work.
And no wonder. DiVito's decidedly non-Nyan-cat-like productions are perfectly at home on the Internet, but would be just as appropriate as MoMA installations. They transform ironic repetition -- the core component of the GIF -- into something much more meaningful. Into something, you might say, profound.
Matthew DiVito's animated GIFs would be right at home at MoMA.
The animated GIF is one of the purest forms we have of Internet-native artistry. It is almost always ridiculous and almost always wondrous, and that is because at its best it is almost always the product of a knowing amateur. In that, it is much like the Internet itself. And yet the GIF, bless its GIFy heart, knows its place: it exists almost solely to make already-funny images of Michael J. Fox and Homer J. Simpson and Pulp Fiction and Mean Girls and corgis and cats even more hilarious.
But: almost solely. GIFs can also become, when they choose to be, things of remarkable beauty. And few things demonstrate that more clearly than the work of Matthew DiVito, who is a freelance graphic designer and, as a side job, an animator of GIFs. In 2011, DiVito wanted some extra practice with Cinema 4D. So he started creating animations -- GIFs whose purpose was not to provide ironic commentary on current events, but to provide beauty itself. DiVito began cataloguing his mesmerizing creations on Tumblr, where he has since built up a large and loyal following for his work.
And no wonder. DiVito's decidedly non-Nyan-cat-like productions are perfectly at home on the Internet, but would be just as appropriate as MoMA installations. They transform ironic repetition -- the core component of the GIF -- into something much more meaningful. Into something, you might say, profound.
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Carlos Jiménez Cahua
Carlos Jiménez Cahua:
Carlos Jiménez Cahua
Work from Recent Work.
“My recent artistic practice is motivated by contemplation upon an often-neglected aspect of photography, namely the paper upon which photographs are made—not the type of paper (e.g., matte, glossy, etc.), but rather, the paper as such, cleaved from the imagery upon it. Focusing on the paper as an elemental (rather than incidental) piece permits a heightened negotiation between the materials and the outcome. The work I have been making recently is then modernistic (in the Greenbergian sense) in its conception, insofar as the very variables of the medium bear a significant causational relationship to that which is produced.
More recently I have largely (though not entirely) forgone straight representation in my photography yet still have edged toward the traditional site of photographic making, the darkroom; much of the work can be considered photograms. This return to the darkroom felt necessary to advance my modernistic interests in the medium of photography. Having put aside a faithful printing of the negative has permitted bypassing the regular tendencies of language that typically surrounds photography, namely that based on socioeconomics, journalism, semiotics, biography and psychology, among others, of course.
By the reductive process of making photographic work not functioning as a mimetic index of the real world, and instead (more faithful to the etymological sense of the word, photo-graphy) pursuing the medium as the arrested action of light upon paper, I seek to investigate the visual language of photography, concentrated and independent, a language, I believe, that need not necessarily borrow from the “real world.” In this sense, my recent work is motivated by a formalistic investigation of photography in a reduced form, selectively divorced from straightforward mimesis.
As the role of photographic paper is amplified, so too does its existence in an installed form become even more critical. This has led to a growing emphasis upon installation in my recent work.” – Carlos Jiménez Cahua
Carlos Jiménez Cahua
Work from Recent Work.
“My recent artistic practice is motivated by contemplation upon an often-neglected aspect of photography, namely the paper upon which photographs are made—not the type of paper (e.g., matte, glossy, etc.), but rather, the paper as such, cleaved from the imagery upon it. Focusing on the paper as an elemental (rather than incidental) piece permits a heightened negotiation between the materials and the outcome. The work I have been making recently is then modernistic (in the Greenbergian sense) in its conception, insofar as the very variables of the medium bear a significant causational relationship to that which is produced.
More recently I have largely (though not entirely) forgone straight representation in my photography yet still have edged toward the traditional site of photographic making, the darkroom; much of the work can be considered photograms. This return to the darkroom felt necessary to advance my modernistic interests in the medium of photography. Having put aside a faithful printing of the negative has permitted bypassing the regular tendencies of language that typically surrounds photography, namely that based on socioeconomics, journalism, semiotics, biography and psychology, among others, of course.
By the reductive process of making photographic work not functioning as a mimetic index of the real world, and instead (more faithful to the etymological sense of the word, photo-graphy) pursuing the medium as the arrested action of light upon paper, I seek to investigate the visual language of photography, concentrated and independent, a language, I believe, that need not necessarily borrow from the “real world.” In this sense, my recent work is motivated by a formalistic investigation of photography in a reduced form, selectively divorced from straightforward mimesis.
As the role of photographic paper is amplified, so too does its existence in an installed form become even more critical. This has led to a growing emphasis upon installation in my recent work.” – Carlos Jiménez Cahua
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