Andy Freeberg takes photographs of the women who watch over the artwork at Russian Art Museums. Often the women seem to emulate the artwork themselves. Whether this is controlled by Freeberg for his portraits or a natural phenomenon is unclear, but it adds an extra layer of poetry to the photographs. In one, a woman sits beside a case of heads, and her own expression mimics that of the 2nd century mummies beside her. In another, the blue of the woman’s shirt is identical to the patter in the painting above her. The women speak about their attachments to the paintings they guard, and whether it is conscious or not, it would appear the artwork has a deep impact on them.
Freeberg explains his interest in the women:
In the art museums of Russia, women sit in the galleries and guard the collections. When you look at the paintings and sculptures, the presence of the women becomes an inherent part of viewing the artwork itself. I found the guards as intriguing to observe as the pieces they watch over. In conversation they told me how much they like being among Russia’s great art. A woman in Moscow’s State Tretyakov Gallery Museum said she often returns there on her day off to sit in front of a painting that reminds her of her childhood home. Another guard travels three hours each day to work, since at home she would just sit on her porch and complain about her illnesses, “as old women do.” She would rather be at the museum enjoying the people watching, surrounded by the history of her country.
We all need a bit of inspiration every once in a while. Whether you’re having a bad day in the studio or looking to add some art into your life the Beautiful/Decay Book series is the ultimate collection of art & design curated by us for you to enjoy. So get creative, get inspired, and join us in our mission to document, promote, and share the best creative minds from around the world. In other words join the cult of decay and subscribe now!
Joel Parés is a U.S. Marine-turned-photographer who’s created a series titled Judging America that illustrates the prejudices we often have against people who are different from ourselves. As the old saying goes, “don’t judge a book by its cover,” and that’s what you’re liable to when you first see these stylized photographs.
Each image is broken up into the two parts – a stereotype of a particular societal group versus who the character actually is. The tattooed, gun-toting gangster turns out to be a Harvard graduate, a decorated stripper is a buttoned-up widowed mother of three kids, and more. You get the picture here – Parés is demonstrating that talented, incredible people come in all different packages.
“Many of us judge incorrectly by someone’s ethnicity, by their profession, and by their sexual interest,” Parés told PetaPixel. “The purpose of this series is to open our eyes and make us think twice before judging someone, because we all judge even if we try not to.” (Via Bored Panda)
It’s Tuesday and time once again for our exclusive artist feature in partnership with premiere website builder Made With Color. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Website builder Made With Color doesn’t just help artists create gorgeous websites but allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the multi-media work of Jonah Fernandez Olson.
Los Angeles based artist Jonah Fernandez Olson uses printmaking, rubbing, drawing, collage, and other markmaking techniques to investigate the process of landscape formation and the relationships between changing and static, internal and external personal environments. Recently he has been creating work focusing on the San Gabriel Mountains, the fastest growing and fastest eroding mountain range in the world.
“In my case, “drawing” is the formation of any object, and the object acts as landscape. I believe land formation, at its core, is no different from drawing, and the artist forms landscapes in a way that is no different in essence from how the earth’s surface is self generating, or how anything is created.
The creation, collection, and re-appropriation of elements colliding to form a topographical object is the drawing. The studio is the “core” containing his ephemeral detritus. Here, material has been melted down, eroded, and regurgitated into layers. Color is used as it surfaces in availability and necessity. Formations become descriptive or obscure. Landscapes endure, or they die at a faster rate and re-enter the core. The crust is fluid. “