New York artist Alison Blickle creates interests paintings in which female nudes (which I think are roughly self-portraits) are pictured in the majestic beauty of nature. While this might not sound all that revolutionary on its own, there is an interesting, almost cartoonish aesthetic in the paintings which creates a sort of off-putting sense of abstraction/simplification, as if this reality is very far from the artist’s life.
I don’t know much about photographer Germinal Roaux because his Wikipedia page is in French, but just the fact that he has a Wikipedia page is good enough for me. Not to mention his lovingly rich black and white photos. They look like I could scoop them up with a butter knife and smooth them over my morning scone. From ballerinas to rock stars, Roaux wraps each of his images in his own special blend of spellbound.
Marco Mazzoni’s work softly drips with an exquisite ease of darkness. From blooming faces where birds gather to a rabbit draining with butterfly wings, each image surrealistically depicts folklore infused with spiritual healing properties that twist and twirl with our own imaginative connections to nature.
To elaborate, Jonathan Levine Gallery notes, “Mazzoni’s imagery references herbalist traditions and Sardinian folklore of mystical seductresses who enchant, curse and cure. His body of work is a tribute to the legacy of female healers throughout history. These women held an important role in medieval communities yet their ancient knowledge of the natural healing properties of medicinal plants was widely feared by the Church, viewed as witchcraft and cause for persecution.”
This series, entitled Babel Tales, is a recent work of Danish photographer Peter Funch. To create each photograph, he sat at an NYC street corner with a tripod and snapped away, eventually finding common elements amongst all the pictures and compositing those elements into one shot. The result is something familiar yet very artificial – feeling almost as if each photo is staged.
Boris Achour is an installation artist living and working in Paris. His most recent work “CONATUS” are a series of designed spaces serving as stages for performances which in turn are recorded and translated into films. This piece is broken up into “episodes” (highly influenced by Boris’ relationship to cinema). The images above are from “CONATUS : THE ONE IN THE CAVE” shown at Galerie Georges-Philippe et Nathalie Vallois in Paris. I love how the girl is urinating in so unabashedly in front of her audience. Be sure to check out the pictures after the jump as well as really awesome video
Don’t we all love to hate those kitschy landscape paintings at the local thrift store? I know I do. But what if we can make them became exciting again?
Artists Chris McMahon and Thryza Segal give thrift shop paintings new life by embedding monster-like creatures. The finished product resembles a pop-surrealist version of Nickelodeon’s Aaahh! Real Monsters.
Both artist carefully blend the monsters into the original scene as if they were always there. The process can be tricky, since it can be a challenge to match the original textures and colors, but it can be said that their attempts have been a success. They are pretty awesome.
(via Twisted Sifter)
Tabloid is everything you want in a documentary, a wacky, eccentric protaganist, engaging visuals and a few twists and turns. Errol Morris (GATES OF HEAVEN, THE FOG OF WAR) brings us a story that’s “the kind of thing where he finds an article in the newspaper about something weird or quirky, then gets interestedin it and investigates.” And if you’ve ever wondered about a snippet you read in passing, you’ll thoroughly enjoy Tabloid- about Joyce McKenna, the world’s first Tabloid Femme Fatale, a beauty queen with a high IQ and a bone to pick with the Mormon Church.
The work of artist Vanessa Marsh is perhaps most accurately described as photography. Marsh creates her richly layered compositions one layer at a time. Using drawings on clear acetate sheets and small- scale models she creates a narrative unfolding on a landscape. After producing several such landscapes Marsh photographs the combined layers. The resulting photographs are pictured here. The numerous planes in each piece are similar to past and present time and the memories that accompany it. In fact, of her work, Marsh says:
“Within the series I am exploring not only the working of memory and imagination but also our contemporary relationship to the landscape, where we might find ourselves in the future and how our feelings towards the landscape often center around ideas of dislocation, need and yearning.”