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Newspaper Headlines Replaced With User Comments Reveals Dark Public Opinions

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Twitter user @TechnicallyRon has spent a fair amount of time creating clever and humorous graphics for his very active account. His recent experiments with taking the format from the Daily Mail (a tabloid-format UK gossip paper) and replacing the newspaper headlines with actual user comments might fall more into a category more darkly revealing than humorous.

While some of the comments veer towards inane internet message board chatter (example, “I don’t know which Kardashian this is.”), the results often head to darker opinions that are better left unsaid, hence their prevalence behind the safety of computer screens (such as the misogynistic comments about women over 50, below).

As this story is still developing, @TechnicallyRon has not made any opinions public about these works, or if the series will continue. (via thepoke).

*Edit. This idea did however lead to web and interactive designer Richard Westenra to create a tool which anyone can use to easily add these comments to headlines (the results of which can be seen at the bottom of the post).

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Delightfully Morbid Still Lifes Feature Disney Princesses And My Little Pony

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The surrealist artist Cristina Burns creates tiny, magical worlds made of skulls, toys, and delightfully kitschy knickknacks; her series Through the Mirror appeals to the subconscious mind, inviting viewers to engage with seemingly disparate materials that together form a strangely cohesive narrative. Inspired in part by the Oniric movement, the bizarre and delightfully pink work allows viewers to make surprising associations within carefully constructed scenes; the familiar and the frightful work in tandem, frantically blurring the lines between fantasy and reality.

Burns’s images, imbued with the innocent connotations of budding flowers, baby deer figurines, and Victorian lace, introduce comically dark elements: a round eyeball, brains served on a platter with a fork. Together, the delightful and the dangerous work to create arrangements that might be viewed as manic and surreal altars to the dead. In one elegant image, a skeleton attracts the attentions of a large beetle, an insect often symbolic of decay, with the presence of budding funereal flowers and sweets.

The meticulous symmetry of Burns’s compositions heightens the idea of supernatural harmony between purity and sin, between life and death. Much of the work centers around a symbol of man and especially womankind’s fallenness: Eve or Snow White’s skull bites an apple, or a mermaid figurine peers woefully at a deteriorating skull at her feet. In this state of death and corruption, there exists too a powerful sense of play, as seen through delicate china mice, candy hearts, and Disney princess dolls. In this way, Burns’s imaginative and feminine dreamscapes capture the allure of mischief, for in our disobedience and fallenness lies a magical sort of madness and celebration.
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Victoria Siemer Transforms The Human Experience Into Computerized Error Messages

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Brooklyn-based graphic designer Victoria Siemer, also known as Witchoria, has an ongoing photography series updated weekly called ‘Human Error” in which the artist digitally overlays an existential or lovelorn computerized error message over a scanned Polaroid. The error message prompts the viewer for an action or to wait, illustrating the futility of this technological exercise when perceived in the context of heartbreak or ennui. Siemer’s series elegantly pairs new technology, represented by the computerized message, with older technology, represented by the vintage mode of a Polaroid photograph, combining the nostalgia evoked by a Polaroid with the technological angst that fuels many of our modern relationships.

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Classic Paintings Reanimated In Deliciously Creepy Gifs

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In master paintings, beauty lies in the romance of an instant, with movement expressed only through form, balance, and color; for the animation artist Rino Stefano Tagliafierro, emotional potency is lost in immobility, their dramatic narratives lost to the stationary canvas. By animating famous Renaissance, Romantic, and Neoclassical paintings using modern technology, he revels in the joy of storytelling through art.

In his video Beauty, Tagliafierro uses mostly Academic paintings, relying on the balance and mythos of Neo-Classicism and the sentimentalist nature of Romanticism to celebrate the female body in motion. Animating mostly paintings by William-Adolphe Bouguereau, he heightens the sensuality of the work by adding slow, gentle movements and soft musical notes. The delicacy of both the young female and the mother figure is exalted to the angelic, her creamy flesh revealed through the coy lifting of her skirt.

Tagliafierro subverts the traditional gentleness of his woman subjects by including Baroque heroines, whose rapid movements only heighten their power. In Caravaggio’s Judith Beheading Holofernes, we are given the just moment of impact, left breathless in the moment before the kill; in his adaptation, the modern artist affords viewers the satisfaction of closure, allowing Judith’s weapon to effortlessly glide through the neck of her enemy.

The gifs of Caravaggio’s Isaac and Luis Ricardo Falero’s witches, played in a loop, relieve viewers of the suspense of the famous biblical and mythological images, allowing us follow a visual story that moves from terror to a sort of redemption. The human body is seen as a creative force, in constant flux between tension and release. (via Design Boom)
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Ashkan Honarvar’s Grotesque Candy-Coated Deformities Confront Human Cruelty

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The artist Ashkan Honarvar, previously featured here, is transfixed by the gruesomeness of the body and cruelty of human nature; in his multimedia creations, he asks that we come face-to-face with the painful, dark cavities of our minds, painting a visual diary of fear, violence, and revulsion. His series Faces 5 hopes to capture the trauma of soldiers whose faces have been deformed and marked by war. Sandwiched between the comparably somber Faces 4 and 6, the series presents subjects with tragically mutilated features dripping in uncomfortably sweet confections made of paint and candy.

As the delicious veers into the grotesque, seemingly saccharine sweet-shop elements become markers of unknowable trauma and nightmare. The gluttony of mankind for violence and brutality are laid bare, and the hunger elicited by the images is tinged with guilt. Our craving for cruelty is equated with the natural and relatively innocent desire for sweets, and the instinctual impulse to do harm is seen as disturbingly tempting, seductive, and indulgent.

In these painfully intimate and personal portraits, the sugar-coated wounds become windows into psychological injury inflicted by violence, evoking in viewers anxious feelings of nausea and disgust. The unnerving pepto-bismal hue of thick, gooey paint highlights the desperation of a mouth blown-off, and coils of green licorice swirl across the face like snakes. These injuries are seen as parasites; the sugared treats stick hard to the face, as if to multiply and remain there to rot the flesh beneath. Take a look. (via HiFructose)
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Local Bay Area Artists Seize The Day At Loakal Gallery In Oakland,CA

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John Wentz

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Jet Martinez

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Cameron Thompson

On March 29, 2014 19 artists gathered at Loakal Gallery to live-paint 19 different works that would later be part of Carpe Diem, a 24-hour art show.  Each artist was given a 4′ by 8′ panel and 24 hours to complete their work. The gallery was open to the public all 24 hours of the painting day so that people could engage with the artists and observe them at work.

From street artists to classically trained painters, they all showcased their process in a way that resembled a happening- the idea of the painters’ performance was one of main ingredient is the uniqueness of this show. The artists, challenged to complete a 4′ by 8′ panel within a tight time frame, had the opportunity to perform and, at the same time, engage with spectators. Viewers not only had the chance to observe but actually participate in the process- chance was very much a part of this 24-hour art making extravaganza.

Apart from creating and sharing the process with spectators, the artist were able to engage and work with each other. For many of the artists, art is typically a solo act, done alone in one’s studio, while street artists and muralists like Ian Ross, Hueman and Nite Owl had more experience with being out in the open while creating their work. During the event, the artists involved turned to each other with a more social approach.

Full list of participating artists: Jessica Hess, Ian Ross, Hueman, Reggie Warlock, Chris Granillo, Eddie Colla, Cameron Thompson, Brett Amory, Lisa Pisa, Nite Owl, John Wentz, John Casey, Marcos LaFarga, Jet Martinez, Cannon Dill, Lauren YS, Zoltron, Max Kauffman and Daryll Peirce.

Loakal is located in the Jack London Square district of Oakland and is open 7 days a week to the public. The entire show is on view until April 28,2014. (via Huff Post)
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Before And After Photo Series Captures The Disappearing Face Of New York City Storefronts

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Delightful Coffee Shop, Harlem, NYC

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Optimo Cigars, Union Square

Photographers James and Karla Murray spent ten years documenting New York City’s ever-evolving storefronts, and recently published their decade-long project into the popular book, Store Front: The Disappearing Face of New York. Of the project, the photographers say, “STORE FRONT provides an irreplaceable window to the rich cultural experience of New York City as seen through its neighborhood shops.”

The strength of the series is found in it’s wide-lens, capturing a time when opening a small business in New York was actually a viable option, and comparing that to the gentrified and corporatized Manhattan of today. This can be seen in vivid and stark contrast in photos like the Delightful Coffee Shop in Harlem being replaced by a ubiquitous Dunkin’ Donuts (above). Many of storefronts shows lost clients due to the ever-increasing rent, business which remain empty today, which has a depressing, darkening effect on the people who still remain in the community. James Murray says of the idea behind the series, “until you place them side-by-side and really look at the two photos, you cannot get the true sense of loss experienced by the neighborhood.”

More images from the series can be seen at their Facebook page. (via mashable)

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Jana Brike’s Uncanny Paintings Capture The Strangeness Of True Love And Sacrifice

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In her series Winter of Love, the Latvian painter Jana Brike reimagines the The Biblical Salome, known for the seduction of King Harod and her bloodthirsty demand for the head of Saint John the Baptist, transforming the icon from infamous sinner to innocent wood nymph, small and delicate as a china doll. Subverting the religious, moral text, she creates a poignant story of intimacy, love, and sacrifice.

In Brike’s eerie narrative, Saint John is replaced by a make-believe Deer King, a creature who harkens back to medieval Christian bestiaries, his horns often serving as a metaphor for Christ’s cross and Crucifixion. Here, the Deer King falls in love with Salome, volunteering his body for her pleasure: “he keeps squandering his life forces to grow flowers from his body, for the nymphs to play with,” explains the artist. In the place of a violent, lusty, and sinful Salome, the artist presents a naive, pure-hearted child who is transfixed by her play and the beauty of flowers.

In this touching biblical allegory, love becomes sacred and tragic; the Deer King offers his head to his beloved, giving her sensual bliss in a bitter, cold winter. The season becomes symbolic of his death, until flora miraculously begins to bloom, as with the mythical Resurrection of Christ. The creative powers of the girl blossom; she is seen as fertile, emerging into womanhood, her lips and vital cheeks pink as the roses.

Using the framework of religious text, Brike’s body of work depicts a romance story where love necessitates sacrifice, where lust isn’t sinful but creative. Nurtured by the Deer King’s affections and tragic death, Salome grows into adulthood; in one image titled “Nurseling,” her dress slips, revealing a pair of milk-filled, life-giving breasts. Take a look. (via MondoPop)
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