Where I See Fashion is a blog created by Milan-based fashion design student Bianca, who pairs fashion photography with related images that correspond to the aesthetic found in the fashion image. The corresponding images depict anything from landscapes to architecture to fine and conceptual art. She began the project this past summer, inspired by the multitude of beautiful photographs found on Tumblr. Her juxtapositions illustrate the inspiration to be found in fashion and the world around us.
“Sometimes a fashion picture reminds me instantly of something and I go look for it, sometimes it’s a random picture that makes me think of an outfit or editorial. Occasionally it happens that by chance I see two pictures near each other on my dashboard or in a random blog that perfectly go together. Also I have A LOT of photos that I saved on my computer because I found them interesting, it’s like my personal archive and I use it a lot to make matches.” (via we the urban)
Adam Lister combines geometric abstraction, cubism, minimalism, pixelation, and popular culture to create his vibrant watercolor paintings. Through visual abstraction, Lister is able to render familiar images from film, television, and the art world, combining various nostalgic representations. In a collaboration with artist Isaac Budmen, Lister also creates 3D sculptures of these 8 bit paintings by using a 3D printer and sandstone that are available for sale.
Lister explains to The Washington Post, “Having grown up playing Atari and Nintendo video games, this broken-down, angular method of processing and displaying information became an interesting guideline for me to translate and selectively restructure some of the most famous paintings in the world.” (via neatorama)
French digital artist JC Debroize has created an unsettling font called “The Human Type” using modeling clay and digital effects. Debroize completed this project as the creative director for the graphic design studio Kerozen. After using modeling clay to render the shapes of the letters, Debroize took photos of both the letters and the faces of the 7 Kerozen team members. “Then I made a mapping of skin textures on the letters with Photoshop and added the hair and the eyes,” Debroize elaborates. “It was not a problem to show an unflattering image of us. We laughed a lot making this.” (via laughing squid)
Tony Matelli‘s realistic “Sleepwalker” sculpture has created a bit of controversy among students at Wellesley, where the sculpture was installed outside of the college’s Davis Musuem. For Lisa Fischman, the museum’s director, the sculpture addresses the boundary of what we expect from art inside a museum versus the outside. Junior Zoe Magdid, the student who initiated a petition to have the sculpture removed, disagrees. ”We were really disappointed that she seemed to articulate that she was glad it was starting discussion, but didn’t respond to the fact that it’s making students on campus feel unsafe, which is not appropriate,” Magid said. “We really feel that if a piece of art makes students feel unsafe, that steps over a line.” More than 300 students have signed the petition so far.
While I can see how Wellesley students could find the sculpture threatening or triggering, I am curious how they would have reacted if Matelli’s female sleepwalker sculpture were installed instead. Most students would probably not feel as threatened by its presence, but that sort of perception would only perpetuate the idea that men alone embody a physical threat, though women are also capable of sexual abuse against others.
However you choose to perceive the sculpture, Matelli’s work provokes viewers and asks them to consider not only the absurdity of a “schlumpy” man sleepwalking campus in his underwear, but also how certain bodies and genders are perceived inside and outside the art gallery. Some of Matelli’s other sculpture work can also be perceived as creepy, but they all seem to address notions of boundaries and gravity, and the defiance of particular expectations. (via gawker)
Chris Ritson combines ceramics with elemental transformation to create these stunning bismuth sculptures. The smoothness and seeming purity of the ceramic form contrasts with the spontaneous explosiveness of the bismuth that emerges from the heads of his subjects, demonstrating a gorgeous dynamism of form and content.
From his artist statement: “Bismuth is an archival element, that under specific, synthetic conditions crystalizes into a distinct hopper shaped crystal form. This crystalline structure of multicolored lattice of cubes within cubes is utilized to simulate the Tesseract, a 4th Dimensional cube. Imagine the Tesseract is to the cube as the cube is to the square. In our thoughts, as well as dreams, we construct a reality within countless imperceivable dimensions, and the realm of the Tesseract is the first that evades our five senses. As artwork is meant to herald a great movement in the viewer into unknown lands of experience, these works are manifestations of the great mythic beacons of ineffable transmissions: Immortal Gods plucked form our literary tradition, all linked to the bridge that connects humans to the imperceivable truths beyond the body.” (via my amp goes to 11)
Jane Perkins reproduces classic paintings using found plastic objects like buttons, beads, jewelry, shells, toy figures, LEGOs, and other plastic items. With her careful and meticulous arrangements, she faithfully recalls well-known works, enhancing the texture of them and creating interesting depth. She implements each item’s original color and shape skillfully into the compositions, illustrating shades and lines with the outlines of the objects. From afar, her pieces could pass for prints of these famous works, but up close, the viewer is granted another layer of appreciation for them. Perkins applies her background in textile design to her plastic found object arrangements, artfully utilizing the textures of each object. (via my modern met)
Camilo José Vergara’s 40-year project, “Tracking Time,” chronicles urban transformation in some of the poorest and most segregated communities in the Northeastern United States. In Camden, New Jersey, one of the poorest cities he regularly visits during his documentation, he captures what he calls “Paired Houses”: two dwellings that share a wall, one of them occupied, the other empty. Because each dwelling is part of the same building, Vergara is able to capture the stark contrast between deteriorated and maintained habitats, reflecting the declining state of Camden’s housing market. For some of the photographs, Vergara returns to a building he’s previously documented in order to chronicle the absence of formerly dilapidated buildings.
In his photo essay for Slate, Vergara writes,”If a resident of a middle-class neighborhood dies or moves to a nursing home, or if a dwelling burns, the empty house is usually guarded or secured by the owner’s family. The police keep an eye out for it. Neighbors, well-aware of the impact of a deteriorating eyesore on property values, alert city officials whenever they see a house falling into disrepair. The situation is quickly brought under control.
It’s different in a crumbling inner city like Camden. Even Walt Whitman’s old house at 328 Mickle St.—the only home he ever owned—was by the 1980s adjacent to a vacant three-story dwelling and just two houses away from a ruin. House values in Camden are low and likely to remain so since the population of the city is declining, unemployment is high, and there is little new demand for houses. The number of vacant houses is likely to increase; many will eventually be acquired by the city, which is too poor either to board them up or to demolish them.”
For Cynthia Greig‘s project, “Representations,” the artist whitewashes objects with ordinary white house paint before using charcoal to outline the items, then photographing the transformed objects against a white background. The effect renders the image as two-dimensional, appearing to be digitally manipulated or hand-drawn. The objects used, now in black and white, appear more iconic and symbolic than they would appear unaltered. In her artist statement, Greig explains that her work is an homage toWilliam Henry Fox Talbot and his treatise, “The Pencil of Nature.” Greig’s photographs ask observers to consider the truth of photography by challenging our perception of the reality of common objects.
“I’m interested in how we learn to see, identify and remember, and the role images play in the codification of perceptual and mnemonic experience. By denying certain aesthetic expectations and assumptions, Representations intends to interrupt a more conventional, passive viewing experience, and provoke the viewer into seeing a photograph as if for the first time.” (via my modern met)