New York artist Danny Evans, photoshops photos of celebrities to make them look like the average joe, precisely, to show what the super famous would eventually look like without the best make-up artists and stylists that money can buy.
“It was a reaction to the over-Photoshopped images of celebrities that we see everyday. I thought it would be interesting to take it in the opposite direction.”
The project has been active since 2006, when Danny started ‘making-under’ the highly popular photographs of socialite Paris Hilton. Evans was fascinated by how quickly Paris’ pictures created instant buzz, and how much power she really had over a mass public just by being rich and ‘attractive’. Needless to say, the collection of Paris’ ‘make-unders’ grew from there; Evans created a Facebook page named Planet Hiltron which turned into a huge success; from there, he started to work with other celebrities.
“Basically just stripping away their cool personas I always find it interesting to see what’s left after the Hollywood has been scrubbed off. My intention wasn’t necessarily to age them, but to strip them of their ‘Hollywood’ facade. That has more or less been my general goal with this series all along.”
Joel Cooper crafts paper masks and geometric shapes using the technique of origami. Cooper’s intricate three dimensional masks are created with a large number of folds out of one sheet of paper. He alternates between bright and muted colors and matte and shiny sheets of paper that all appear earthy in tone. On some of his pieces, his wife has collaborated with him by using painting techniques to enrich color and texture. You can check out more of Cooper’s work on Flickr and purchase available designs via his Etsy shop. He lives in Kansas. (via design taxi)
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Joe Black is an artist who uses Pop Art against itself. Collecting iconic imagery (often choosing those which have already been famously exploited by other artists), Black creates large-scale hued portraits using copious amounts of consumer items. One of many artists using collected masses of materials into larger mosiac-style works, Black claims that he is open to using any material as long as it is small and plentiful (past pieces have used Lego pieces, toy soldiers, pins, ball bearings, badges) and relates to the source image. These images, which are best seen from a distance of fifty feet, offer a contextual surprise for viewers upon closer inspection.
Though trained as an artist and painter, Black claims to be uncomfortable labeling himself a professional artist, preferring to consider his work more based on image-making and craftsmanship. One such aspect is the time-consuming application of several thousand smaller pieces which make up his whole images, which Black hand-alters by using aerosol to add tones that give gentle gradients which become the lines and shading of the portrait. (via u1u11)
How would you like to see a photo of the 1937 Hindenburg disaster in color? Rather than experiencing the destruction in black and white, how much more powerful would that image be if we could see the intensity of the flames against the night sky ? Well, thanks to the work of an increasingly popular online trend, now you can. And it’s not limited to the Hindenburg. Photographic colorizing is illuminating portraits of long-past world leaders, scenes from 1930’s US Great Depression, and the ever heart-breaking Thich Quang Duc’s self-immolation.
A number of photographers have taken to this challenge, and one company, Dynamichrome, explains the appeal of this change. They write:
Black and white photography can be an artistic choice, but with images taken before the advent of mainstream colour photography, it was usually the only option. As a result, historical photographs are a far less vivid depiction of the past. Skilfully restored and authentically colourised photos allow the viewer to connect with a past era and see details they never noticed before, bringing history to life and drawing attention to images previously unseen in full colour.
The colorizing of popular historical photographs isn’t something that is just for the professionals. There is a whole subreddit, History in Color, that features this practice. Obviously, some attempts are better than others. Regardless, when done well, it’s a powerful way to revisit history.
Khalil Chishtee constructs life-size sculptures out of plastic bags. Much of his figurative work is evocative of movement and fluidity, and indeed, some of his work is sculpted in such a way as to be constantly moving. Admittedly charmed by the vastness of the plastic bag medium, Chishtee enjoys the way it respectfully responds to his deepest emotions.
“We live in the age of plastic, and plastic bags are the most ordinary form of this material. It goes back to the Sufi approach of my upbringing where worth does not depend on what you inherit, it depends on who you are. Anything made out of bronze, wood, stone or painted on a canvas carries the appearance of being worth looking at, because of its history, but if one can change the impact of that history, one is an artist.”
Originally from Pakistan, Chishtee now resides in New York. (via combustus)
Women have had the opportunity to rise against the perfection of the ad model. For instance, Jes from The Militant Baker goes against the grain by reinventing the black and white, over-perfected couple shots seen in Abercrombie and Fitch’s stores by posing, as a plus size model, with the regular Abercrombie male model. Many ad campaigns [Dove, Hanes, etc] have also done the same thing countless of times by producing content that celebrates the fact that beauty comes in every shape and size. These ads, however, almost never feature men, but only women.
So what happens with men? Do they not go through the same? Are they not as affected by the distorted ideals of beauty as much as women are?
In this photo series, Jenny Francis and The Daily tabloid newspaper, The Sun [England] teamed up to show how real men compare to the popular underwear ads that showcase the chiseled abs and faked tanned male models.
Four average looking men, stood alongside David Beckham, Cristiano Ronaldo, Freddie Ljungberg, and David Gandy to show off what a real life man would look like wearing the same exact underwear and standing in the same exact poses. The photos are quite funny, but they are also quite empowering as the provocative poses and the polarity of bodies shown in the comparisons further examine the different male body types out there, from short and thin, to tall and bulky. Just like women, many men are confronted with the issue of body ideals that are often impossible to achieve. (Via My Modern Met)
Using repetitious and precise cuts, artist Robbie Rowlands manipulates objects and environments. They are monumental manipulations and demand your attention the moment you see them. He installs his work in abandoned homes, school yards, and gymnasiums,using elements from the space to create his sculptures. Doing so gives the place or object a mind of its own. The walls breathe and the floor is alive.
Writer Simon Cooper wrote about the work in an essay that accompanied Rowlands’ Disintegration exhibition in 2008. Despite the time passed, I find that his analysis is still apt for the artist’s current body of work. Cooper writes:
Rowlands bases his sculptural work on things that exist at the fringes of our awareness, utilitarian objects such as lampposts or desks. He refashions them into something altogether different yet in a way that never allows their original identity to be shed. The mass produced and functional designs are softened and framed in terms of a new aesthetic, giving the object a renewed energy or sensibility. The effect is to reveal hidden potential in what had come to be regarded as outmoded. If the former object is largely unrecognizable in the new sculpture, the process is not one of violence, rather there is a sense of redemption, as if the object has been liberated from obsolescence, from forgetfulness.
Rowlands repurposing gives us the opportunity to remember the thing or place, but place it in an entirely new context. Sometimes, the way something is cut and later posed feels like a cartoon. Take, for instance, the basketball hoop that has been cut. Seeing this hoop laying on the ground, like a turtle on it’s back, is simultaneously comical and sad. We’re reminded that while it has no practical use anymore, it didn’t before it was manipulated. Rowlands has saved it from total obscurity.