Defining one category for all the work of Sarah Illenberger is no easy task. What initially sounds quite abstract, in reality, is mostly practical in that her creations are not generated on a computer but rather by meticulous handwork, sometimes incorporating the most mundane materials.Out of her studio in Berlin, Germany Illenberger takes everyday fruits and vegetables that we find in grocery stores and transforms them into humorous sculptures that look like other mundane objects that one may find in their home. The results will make you laugh and think of a disco next time you see a pineapple in aisle 6. (via)
We have blogged Swedish artist Fredrick Akum‘s work here in the past and featured him in Beautiful/Decay Book: 8 Strange Daze. He continues his series of psychedelic acrylic and vinyl on MDF paintings that look like they are being disintegrated by the sun. The work has an ethereal glow. Like a daydream they exist between reality and the imaginary. His pieces seem to encapsulate slowly dissipating memories.
With spring around the corner I can’t help but think about flowers, which led me to consider Anna Schuleit’s installation Bloom, 2003, a site-specific installation at the Massachusetts Mental Health Center in Boston. Though now over ten years old I feel the idea that art and beauty can heal is a powerful and ever-relevant concept. The installation consisted of over 28,000 flowers, 5,600 square feet of live sod and recorded sound that played over the old public service announcement system. The flowers and sod filled four floors of the historic building and the basement hallways.
The building, which was slated for demolition, had a long and complicated history, having hosted thousands of patients and employees over the years. Struck by the absence of both life and color after visiting the site, Schuleit conceived of BLOOM, reinvigorating the building with an impressive display of flowers and transforming it into a fantasy world for four days. After the installation Schuleit had the flowers donated to half-way houses and psychiatric hospitals throughout New England. As she said of the installation in her interview with Colossal, “I wanted these flowers to continue onward, after the installation. Bloom was a reflection on the healing symbolism of flowers given to the sick when they are bedridden and confined to hospital settings. As a visiting artist I had observed an astonishing absence of flowers in psychiatric settings. Here, patients receive few, if any, flowers during their stay. Bloom was created to address this absence, in the spirit of offering and transition.”
As a generation in Palestine confronts misery, violence, and rejection, the hip hop scene is an outlet to express themselves. Photographer Pierre Mérimée and journalist Jacques Denis capture the young people involved in this scene in their new book, Intifada Rap. In it, we meet MWR’s Mahmoud Shalabi, the girls of Arapyot, and the “veterans” on the scene, including Said Mourad, the voice of the first Intifada.
The book’s press release describes it as:
A dive into the heart of the Palestinian hip hop scene, Intifada Rap bears witness to the incredible strength of the musical movement, from the suburbs of Tel Aviv through to Ramallah. Pierre Mérimée and Jacques Denis’ work shines a glaring light on the reality of Palestinian rap while offering an unprecedented view into the daily lives of a generation confronted with misery, violence and rejection, fighting back against it all to escape their imposed fates. Far from the shocking image of television news and the continual discussion of the Israeli-Palestinian conflict, the two journalists have documented the day to day lives of youth facing a dark future, for whom hip hope is more than just an escape. Armed only with their words, these men and women on the cusp of their twenties express their need for freedom, hope and equality through lucid texts and heavy beats.
You can purchase Intifada Rap here.
When the photographer Douglas Sonders met Emma, a Pit Bull, black Labrador mix, he was touched by her gentle disposition and knew he had to take her home. With his ongoing personal project Not A Bully, the artist hopes to change public perception about so-called “bully dogs,” breeds like Pit Bulls, Boxers, Rottweilers, French Bulldogs, and Boston Terriers, who together make up 40% of shelter dogs.
Tests by the American Temperament Tests Society conducted in 2009 displayed excellent behavior and tenderness on the parts of these breeds, and yet unfair prejudice continues to cloud the judgement of adoptive families, and many dogs go without finding a permanent, loving home. Emma, for instance, was nearly put down and subsequently went nine months in the foster-care system before finding Sonders.
Through a series of poignant images, Not A Bully hopes to change all that. Sonder’s canine portraits are shot with the same careful reverence displayed in his commercial and editorial captures of celebrities; seen in high resolution and saturated in rich color, the animals are desperately emotive. Personalities shine through expectant eyes and eager tongues; the dogs pant excitedly, peer curiously at the viewer. Set against the most brilliant black fur, radiant topaz eyes shine bright, and chests perk up at attention, revealing soft and tender patches of white fur. Similarly, heads bow down slightly below the center of the frame in a show of trepidation and approval-seeking. These deeply-feeling creatures—capable of joy, fear, wit, and wisdom— are clearly anything but bullies. (via My Modern Met)
Jean Marembert (1904 – 1968) was a founder of the group with Louis Cattiaux – a group of Surrealists of a more decorative nature. His work is also, like Giuseppe Arcimboldo’s work, looks like it was made in this century instead of the last. That just goes to show how our current sensibilities are based off the past. Old aesthetics are recurring and cycled through, even filtered down. That’s why I believe it when people say that nothing is ever original anymore.
Tragedy can yield new ways of working and thinking, especially in the case of artist Jess Landau. After a lifelong friend committed suicide in 2013, she was struck trying to come to terms with the loss, and it lead her to explore new ways to cope with the event. What resulted was a stunning series that conveys the fragility of life itself as expressed through nude figures on eggshells.
Before she landed on eggshells, Landau decided that the traditional materials of wood, papers, etc., just weren’t cutting it. She wanted something more delicate. The decision to use the shells coincided with her learning to use liquid emulsion, a chemical that makes paper light-sensitive and allows images to be projected onto it in a darkroom. “Liquid emulsion will only adhere to surfaces that have a tooth — shiny and smooth surfaces like glass and certain plastics don’t work unless you sand-blast them,” the artist explained to Huffington Post. “Eggshells have an appropriate texture for the emulsion to cling to.”
First, Landau photographed the models with a 35mm Minolta camera and then developed the images by hand in a wet lab using traditional darkroom methods and a few modifications. Because of the eggshells’ curved shape, Landau applied several layers of evenly-distributed emulsion to to them. The exposure would vary depending on the shape of the shell, making the process for each slightly unique.
The effort that went into the production of this series had therapeutic results in addition to its beautiful aesthetic qualities. “Life is fragile and temporary, and it should be cradled in the palms of our hands — which is the process that I engaged with as I delicately created each of these works manually, with my hands.” The nude bodies represent vulnerability of its subjects, and printed on a delicate surface demonstrates the fleeting nature of life itself. (Via Huffington Post)
Chinese artist Liu Fei and I share the same name (my name would be Liu Fei too if it was written last name first) but we obviously are not the same person…it’s sort of like how I have 3 other Fei Liu’s as friends on Facebook who are all dudes.
Liu Fei paints bald young women that comment on the interplay of conformity and self-expression. Their means of dress and lack of hair are very much in line with one another, yet their rebellious gestures and exaggerated facial expressions speak of a desire to turn convention on its head. Red smiling mouths jump out from an otherwise black-and-white monochrome palette, thus seeming to ridicule the country’s traditional female virtues like purity, delicacy and grace.