Recognize the above image? Maybe the name Jesse Auersalo rings a bell? Give up? We featured Jesse in Issue Y, back when B/D was still a magazine… before we upgraded to our fancy limited edition book format. Well Jesse is giving a talk at AIGA/NY on Wednesday March 3rd, 6:30-8pm. This is Jesse’s first ever U.S. presentation! Be sure to check it out if you’re in the area. Also, you can go to our online shop and pick up a copy of Issue Y or grab the t-shirt Jesse designed. Just for fun, you can see more of Jesse’s illustrations after the jump.
The morbid sculptures of Caitlin T. McCormack would fit right in at your next Halloween party. She creates beautifully intricate skeletons of fictional creatures – rodents, seahorses, insects and animals. Not only do they look fragile, macabre, antique, precious and ghoulish, but you would probably be surprised to learn what they are made from. The artist actually discovered that covering crocheted cotton string in PVA glue stiffens the material, producing a bone-like effect.
Her dark, heavenly creatures are usually displayed, sprawled out and pinned to a dark board of some sort. They look as if their skin and meat has been carefully dissected and discarded, leaving their skeletal remains to be gracefully displayed for all to delight in their discovery. Not only does McCormack craft these intricate alien-bone-forms, but also delicate lace work, dramatic dresses that look like they were worn to a ghost’s wedding, and charming little illustrations and plasticine characters that usually reference a well known horror story.
The busy artist doesn’t stop there – her work will be also feature as a part of the group show Opus Hypnagogia: Sacred Spaces of the Visionary and Vernacular at The Morbid Anatomy Museum in Brooklyn, New York. Exploring states we experience between waking and sleeping, the show is a journey into altered perspectives, dark thoughts and unknown visions. A combination of historical, ‘Outsider’ and Visionary art, the show promises to be enlightening and entertaining. Running from July 18th – October 15th, be sure to explore the show and bring out your own black magic.
Brightly colored paintings that contain rainbows and taxidermied indoor bear fountains are always good in my books. I like Shara Hughes‘ works for their subtly ironic & clever references to painting & performance and artifice.
I can’t get enough of Caleb Charland‘s photography. He uses any source of light including but not limited to fire, flashlights, and even the glow from point and shoot camera displays and the result is just beautiful.
Adam Voorhes has a great collection of commercial photo projects on his portfolio site. His exploded series (exploded frog pictured above) is my favorite, showing animals, and other mechanical objects dissected to reveal what’s inside.
These are some shots from Bernadinism, the most insane, awesome, mind blowing, infuriating flash website I have ever seen. It is the portfolio of artist Alva Bernadine and features photographs, film, writing, and some of the most intense flash action I’ve ever seen.
Fra.Biancoshock insists he is not a street artist, but rather the Milan-based experientialist noticed that his street-level installations and interventions spoke using the same language as Street Art. In regards to the movement of Street Art in regards to his work, the mysterious, identity-protecting Fra. says, “For me, that phrase is a provocation: I have not studied art, I do not frequent artistic circles, or amicidell’amicodelcuginodelfratellodelsuoamico … And I have no particular technical and artistic skills. I just have ideas and I like to strain my mind in trying to propose to the common people through what I call “Unconventional Experiences.” I think mine are “experiences” rather than works of art.”
With ties and intentions closer to Performance and Conceptual Art (for those paying off MFA degrees, think Guy Debord), the man who would become Fra.Biancoshock developed the performative avant-garde school of art he calls Effimerismo (“The Effimerismo is a movement that has the aim of producing works of art that exists in a limited way in the space, but that they persist in an infinite way in time…”) as a means of exploring and categorizing his specific means of street engagement (or as he is known to call them, “speeches”).
Operating in this very-intentionally public mode of communication, Fra.Biancoshock uses the streets as a forum, installing temporary interventions to call attention to themes of poverty, urban blight, modern stress and decay. Present in most works is how Fra deals with serious themes with a disarmingly light-hearted approach. His work has mostly been viewed (often quite temporarily) in Europe, though as Fra. says in his Manifesto-like statement, “Prior to founding the movement, [Fra.biancoshock] has made more than 400 speeches on the streets of Italy , Spain , Portugal, Croatia, Hungary, Czech Republic, Malaysia and the State of Singapore, and has no intention of stopping.” (via hi-fructose)