I first encountered the work of Nashville-based painter and visual artist Danielle Duer at a local restaurant-slash-coffeeshop. The order line separating me from my hipster-approved gourmet grilled cheese — well, it was long, but I didn’t mind. All the while that we inched forward, salivating obscenely, my eyes were glued to the walls of the establishment, for it was there that a number of Duer’s creations hung. I may or may not have jostled a few fellow salivaters aside so as to get a clearer view of each piece, hanging there against haphazardly stuccoed walls beneath little strips of birch bark that simply read “Danielle Duer.” First thought: I want one.
Duer’s paintings and drawings couple dainty details with fanciful landscapes, all rendered in vivid color. Ships sail in from far off places and bears cavort on unicycles in imaginative scenes that would look right at home on book covers. As the artist once said, she learned as a child to create places, whether through writing, painting, or drawing, that were smothered with the most “delicious, bizarre scenery.” As her creations show, she is also well aware of the importance of “oddities and peculiarities” in making something beautiful.
Take a closer look at Danielle Duer’s beautiful somethings after the jump.
I love Hunter Payne. His work takes me back to a simple time without being simple. Out of all the shakey hand intimate portraits that are currently sieging the art world, these creations that float through the crazy artist’s brain are by far the most enjoyable because of their lack of pretense. Hunter’s humble nature and childlike wonder bring questions forth about the necessity for seriousness in art. More after the jump.
“My most recent sculptural installations are constructed with discarded electronic materials: computer, telephone and electric cables, thousands of burnt-out bulbs, meters of videotape, old slot machines, celluloid, DVDs, etc. The installations explore the short life expectancy of the technologies we cast off and their relationship to organic mortality.
These installations also seek to reanimate the lifeless. Light animations projected onto the installations appear to free the energy stored in the electronic waste, awakening in it memories of its past.
Through my work I try to bring dead materials back to life, reveal their secrets, revive the collective memory they contain to construct an accurate portrait of a society and an age.” – Daniel Canogar.
British artist Charlotte Mann is known for her elaborate wall drawings and drawn room installations. These densely detailed 1:1 scale drawings of rooms in rooms are invariably made with thick black marker pen on a white ground. The medium may be simple but Mann’s obsessive attention to detail pushes her work into a new realm creating dizzying installations that make you take a second look at your surroundings.(via)
Christian Stearry is great example of what happens when one spends their entire youth skateboarding- it begins to permeate every aspect of your life. His illustrations are focused on the tongue-in-cheek jokes found in growing up “bad,” whether it’s through graffiti, drinking, or being that guy that brings his bong everywhere. Lucky for us, it works.
In December 2006, American photographer Tim Mantoani embarked on a unique and fascinating project to document living photographers with their most iconic images. Since then, he has collected over 150 portraits, ranging from the historic to the contemporary, the cultural to the political. Included among the vast series is Harry Benson and his famous photograph of The Beatles engaged in a pillow fight (1964), as well as Lyle Owerko holding his devastating image of the 9/11 attacks on the Twin Towers (2001). All of Mantoani’s portraits are taken on the “rare but mammoth format of a 20×24 Polaroid,” using a large camera originating from the 1970s (Source). Only a handful of these Polaroid cameras still exist (you can learn more about the devices he uses here). Mantoani’s reasoning for using such unique, classic technology is rooted in a respect and passion for the photographic tradition; as he explains, “If you are going to call the greatest living photographers and ask to make a photo of them and you are shooting 35mm digital, they may not take your call. But if you say you are shooting 20×24 Polaroid, they will at least listen to your pitch” (Source). As further homage to these artists, as well as their impact on the history of photography, Mantoani has had everyone write a story about their iconic image on the bottom of their portrait.
Mantoani’s project is simultaneously intimate and historically significant. It is an undeniably powerful experience to see the faces behind photographs which have defined cultural eras and signified shifts in social consciousness. So often, despite the impact of their work, photographers remain the unseen observers while framing the world in profound ways. We don’t often have the opportunity to connect with the mind and personality behind the lens. Mantoani’s work crystallizes these important artists in the records of photographic history. Suddenly, with the Polaroid and its accompanying, hand-written inscription, we can imagine Steve McCurry in 1984 in the midst of the Soviet War in Afghanistan, capturing the face of Sharbat Gula (“Afghan Girl”), who would wordlessly tell the world an intimate story of hardship and perseverance. In regards to an iconic moment in the history of American music, Jim Marshall’s portrait shows us the face to which — for an intense, fleeting moment — Johnny Cash held aloft his middle finger. These portraits bring the bodily, human presences back into the images and their associated histories.
In 2012, all of these stunning portraits were compiled in the book Behind Photographs, published by Channel Photographics. The book is available in multiple formats, including a regular edition, a slipcase limited edition, as well as a cloth-bound deluxe limited edition that comes with signed collector cards. It is also available as an eBook. The print versions are available for purchase on Mantoani’s website. More photographer portraits after the jump. (Via 123 Inspiration)
Decadent desserts are paired with sexy legs in Argentinian-based artist Camila Valdez’s series of life and table-sized sculptures. The faceless beings are placed in public and are posed on benches, seen exiting restaurants, and enjoying a picnic in the park. Despite the fact they can’t convey emotion through eyes or a mouth, Valdez has made their legs expressive. They are straight and together if trying to look pensive, or partially open as if trying to suggest something else.
This series literally objectifies women and compares them to a sugary treat that will rot your treat and should be enjoyed only every-so-often. At the same time, they reference outdated objects from the middle of the 20th century, where legs were attached to things like lamps (as seen in the film A Christmas Story). Valdez pokes fun at this absurd and fantastical objectification of the population. (Via HiFructose)