Seoul native Eunjeong Yoo is an illustrator who now lives and works in New York City. In addition to Eunjeong’s strong conceptual approach, the quality I admire most in her work is her use of color; its placement has a haphazard feel and her palette choices both emphasize the narratives and instill a sense of in-the-moment movement.
Since the year 2000, artist Julie Green has immortalized the final meal requests of US death row inmates. It’s an on-going project aptly-titled The Last Supper, and she paints cobalt-blue pictures of the meals onto second-hand porcelain plates.
Green’s initial inspiration for the series came when she was working at the University of Oklahoma and noticed this menu printed in her morning paper: “three fried chicken thighs, 10 or 15 shrimp, tater tots with ketchup, two slices of pecan pie, strawberry ice cream, honey and biscuits, and a Coke.” It was included in the death notice of an inmate’s execution. This tradition of a final meal startled her, and she clipped the menu, as well as others that she saw.
Not long after seeing that clipping did she start The Last Supper. Along with painting the plates, she also details what the inmate ordered. Green writes:
In states with options, most selections are modest. This is not surprising, as many are limited to what is in the prison kitchen. Others provide meals from local venues. California allows restaurant take-out, up to fifty-dollars. Pizza Hut, Wendy’s, and Long John Silver’s are frequently selected in Oklahoma, where their fifteen-dollar allowance is down from twenty in the late 1990’s. Requests provide clues on region, race, and economic background. A family history becomes apparent when Indiana Department of Corrections adds “he told us he never had a birthday cake so we ordered a birthday cake for him.”
Over time, she’s completed 600 plates – 50 a year. Green spends six months of every year working on this project, and she plans to continue it until capital punishment is abolished.
The Last Supper will be on display this spring at the Dayton Art Institute in Dayton, Ohio in an exhibition titled The Last Supper: 600 Plates Illustrating Final Meals of U.S. Death Row Inmates. (Via PBS Art Beat)
Ron Ulicny is a Portland-based artist who creates “viscurrealistic fabrications”, sculptural works that draw their impact from surreal change-ups in material selection. A vintage bowling pin is sliced open, and a nocturnal forest is inserted into its midsection. A hand saw’s blade is replaced by multiple paintbrushes. I wasn’t necessarily surprised, when going through the artist’s portfolio site, to find quotes from Jasper Johns, Magritte, Duchamp, and Rauschenberg, each of whom are pretty clear influences on Ulicny. But, even in emulation, Ulicny’s work is completely singular. He knows his materials so well (where does he find some of these things?), and his execution might be a little cleaner than some of his heroes. You’re gonna want to check out more of the artist’s works, so find a selection below, but hit up his website and tumblr to get the full picture.
Check out some amazing aerial shots of Iceland’s volcanic countryside from Russian photographer Andre Ermolaev. The intense heat from the volcanoes produces some really unique visuals. And Ermolaev’s bird’s eye view forces us to recall how majestic our planet really is. Not to get all preachy, but if we want to preserve visuals like these, we may have to alter our actions a little. (via)
Instead of traditionally traveling the world, photographing the sights with a camera as he roams, Fabian Rook accumulates different snapshots via the comfort of his own home – with the help of his computer and Google. His photographic series is the result of entering key place names into his search bar and documenting where he ended up. By using the online digital tools of these search engines and satellite images to produce Fine Art, Rook is questioning the role of authenticity in image production and selling.
His photos are not dissimilar to those of landscape photographers Stephen Shore and Joel Sternfeld, but have a much different intention behind them, and another way entirely of being produced. Rook says this regarding his purpose:
“By reverting to the auto-produced landscape images taken by Google Street View and by not putting in an appearance of myself either as the author of an image or as an eyewitness, I highlight the meaning of the authorial and witness role in the production of photographic images.” (Source)
He not only exhibits Google-sourced landscape images as the finished project, but also superimposes elements from photojournalism and changes our understanding of what a place is. For example, he takes scenes of protesters from Iran and Greece and replaces them in a new setting of Sao Paulo. Or the street kids we see could either be playing together on the street, or running away from some authoritarian figure. Rook goes on to say:
“The locations and details converge and are exchangeable, while the pictures have the same variability and arbitrary quality that enables the user to switch continent in Google Streetview with a single mouseclick.” (Source)
His images are questionable and ambiguous, and this is his main aim – to point out how untrustworthy these sources are that we take at face value.
Some people just have a knack for color and Toronto based Liz Wolfe is one of those people. Here bold still life and photographs radiate with electric colors in every corner and her juxtaposition of gorgeous floral motifs with dead chickens, maggots, and flies is the perfect mix of the sweet and the grotesque. (via feature shoot)
Milano Chow‘s drawings are subtle and contemplative. One of the most striking elements in the work is the indelible sadness of human figures and the seemingly neglected objects that surround them. Plants and flowers reoccur but they are often wilted. The people inhabiting these snap shots mirror their belongings. They remain cluttered, isolated and damaged.
Young Hungarian photographer Noell Oszvald creates elegantly surreal images. Her black and white photographs resemble mid-century fashion photography as much as it does the work of her surrealist influences. Severe contrasts between light and dark create graceful lines and a definite composition for each piece. In this way each image is intriguing, not only for its dreamy content but also because they are simply pleasing to look at. Perhaps what is most surprising, though, is the fact Oszvald’s relationship with the camera is relatively new. Only twenty-two years old Oszvald has only been using the medium for a little over a year. [via]