Tim Lahan is a New York based illustrator and designer who happened to float to the surface in our Flickr pool. His fun retro-style of work does exactly what he wants by communicating visually in a simple and fun way. Keep the fun coming Lahan, we love it!
For women everywhere who grew up with Disney princesses, at one time or another have been disappointed to find out that “happily ever after” is a very rare occurrence, and even then life cannot be consistently easy or good without a few hardships. I feel that a small part of me is avenged through Dina Goldstein’s harshly realistic series “Fallen Princesses.” In this series, Disney’s version of princesses find themselves introduced to the real world, and battling a world their previous audience live in. Everything from a stressful married life, obesity, depression, illness, etc. Just like everyone else they must address their conflict, and confront whatever the outcome may be.
In September, people visiting the Natural History Museum of Los Angeles County (NHM) will be able to view North America’s largest collection of ancient Egyptian and Peruvian mummies. Titled Mummies: New Secrets from the Tombs, the touring exhibition from The Field Museum in Chicago features over 20 preserved remains ranging as far back as Pre-Dynastic Egypt and Pre-Incan Peru—which means these are some of the oldest discovered mummies in the world. Accompanying the mummies are archaeological artifacts also found in the tombs, such as sarcophagi fragments, limestone canopic jars containing the deceased’s vital organs, and a beautifully fierce double-spouted jar with the face of a jaguar.
In the following statement from the press release, NHM President and Director Jane Pisano explains the exhibition’s goal: “The role of a natural history museum is to serve as a laboratory for the exploration of our natural and cultural pasts, and science is our pathway. Mummies: New Secrets from the Tombs uses modern science to challenge and help to unravel what we know about these ancient peoples and their cultures, and in doing so, offers the world an intensely up-close look at The Field’s preeminent collection of mummies, many of them tucked safely away in vaults for over a century.”
As Pisano remarks, what makes this exhibition exciting (aside from its awe-inspiring collection) is its unique examination of cross-cultural methods of mummification, as well as the specific focus on the individuals occupying the coffins. Mummification is often solely associated with Ancient Egyptian ritual practice, but in fact mummies have been found all over the world. In Peru, mummification began 2,000 years before Egypt. While both cultures’ methods are equally fascinating and ingenious, differences can be traced. In Peruvian mummification, for example, there are signs that the coffins were opened so that food and drink could be replenished; in Egypt, the tombs were meant to be sealed for eternity. In addition, the exhibition also profiles the deceased using information gathered from CT scans and X-rays. Among the mummies is a woman and her child, a brother and sister, and the “Gilded Lady,” a 40-year-old woman from the Roman era.
This is the first time the mummies and their artifacts have left The Field Museum, so be sure to take the opportunity to see this fascinating collection. The show runs from September 18th to January 18th. You can learn more on the NHM’s website.
There’s been a lot of talk of 2012 being the “Year of the Infographic”: visual representations of data as aesthetically pleasing as they are informational. Chad Hagen welcomes us to “the world of fictional information” with illustrations that explore what we’ve come to accept as infographic staples — a visual key, multi-dimensional shapes, a vibrant color selection — with none of the facts. Without the burden of telling a story culled from factual data, various dimensions, planes and colors are free to tell whatever story they choose. (via)
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)
Mathy art. Photographer Kelly Castro (pictures) and artist Santiago Ortiz (collage) bring you “Love is Patient,” this interactive collage of photographs that’s based on a principle called the Voronoi algorithm, which involves polygons and points equidistant to other points, (I won’t even try to explain, try wiki if you feel inclined.) Ultimately, you get this cool ever-changing mash-up of black and white portraits where you’ll never see the same face twice.
French artist Frédéric Fontenoy is enamored with the human form. In his striking photography, he explores different representations of the body and eroticses, or ostracizes it’s different parts. In his new series Metamorphosis, he manipulates his photographic medium and produces images of bodies that are stretched, extended and disfigured. His snaps look like they are of weird aliens passing through earthly landscapes.
Being raised surrounded by artistic and political family members, Fontenoy quickly identified with a particular artist that he felt embodied his own ideals. Hans Bellmer’s The Anatomy of the Image, continues to be a major inspiration for the artist. Here he reflects on his own practice:
I always created erotic work, since I started taking pictures: first more intimate, then evolving into a more conceptual work, a photographic fiction, referring to our collective unconscious. The mindset of my photography is erotic, but a photo itself doesn’t have to arouse lust. (Source)
Throughout his 20-something year career of taking photos, Fontenoy not only works with different narratives that are connected to the body, he also includes himself in the situation and reflects on his own involvement as a fellow person. He sees the relevance of having himself somehow reflected in his images:
[The] crucial point of these “scenes of the darkroom”: the photographer is also in the frame, the main male character. Grand officer of these stagings, this double devilishly imaginative and wicked madness seems to make its most ambitious expression, which is Art. (Source)
(Via But Does It Float)