New York based photographer Christopher Herwig travels the world documenting war torn countries for the United Nations. One of my favorites series on his site has to be the collection of Soviet Bus Stops. The scale, design, and variations of these architectural structures are both a mesmerizing and fascinating reminder of the diverse and historically rich population in the former Soviet Union.
We love DIY art and design here at B/D, so it goes without saying that home made Strange Cams certainly caught our eye. An ongoing project initiated by Los Angeles artists Aurelia Friedland and Michael Manalo, Stange Cams investigates the affordances of defamiliarized, modified, low technology instruments, and how those instruments can shift a user’s perspective (literally) on the community and environment around them. I love the sketchy approach the artists took in designing these new cameras – who would have thought a good ol’ roll of duck-tape, a can of spray paint, and some CVS brand disposable cameras would lead to a whole new genre of photography? Check out more of the resulting photographs, and some of the Strange Cams themselves after the jump.
Attention Cult Of Decay! The latest issue of Beautiful/Decay is upon us! Sent to the printers in the last weeks, there will be only 2000 copies produced (all of which are ad-free) and only subscribers will receive their copy before anyone else does. You also save 33% by subscribing versus waiting to buy at a bookstore (plus you don’t have to go past your mailbox to get it!). Subscribe today and secure your newest addition to the Beautiful/Decay series. We’re also holding a contest for your chance to win a free copy of the book so get all the details and a few more peaks at what the new book has to offer after the jump.
Georgia Russell is a Scottish artist who slashes, cuts and dissects printed matter, transforming books, music scores, maps, newspapers and photographs into patterned abstractions that leave a resemblance of the original but transport it to another time and place where everything is fragmented, and always in flux.
Nicholas Di Genova has developed a unique practice that is as firmly rooted in the utterly fantastical as it is in the deeply scientific. His depictions of hybrid creatures examine wildlife illustration through a Sci-fi lens. Di Genova’s highly detailed, and often encyclopaedic investigations of the natural world, yield monstrosities that are the most unlikely of amalgamations – these can be, for instance, a fusion of cat, goat and snake with cormorant, or tortoise merging into carnivorous plant and even a toad with eight, tentacle-like tongues. His depictions are obviously imagined; but Di Genova’s illustrative precision, makes these Audubon caricatures almost plausible.
His materials are simple; he looks to the conventions of analogue animation, which employs gouache paint on Mylar, or the very basic approach of ink on paper. But Di Genova pushes line-work and a compact colour palette to the extreme; his seamless and fluid application of medium is in the service of an unparalleled intricacy of image. From the tiniest black and white elements (which can be a mere couple of centimetres square) to the robust and colourful, full-sized works, Di Genova’s articulation of shape and texture is nothing short of masterful. See Nicholas’ work at Galerie Dukan Hourdequin in Paris from November 11th-December 3rd 2011.