Carnegie Mellon grad Cassandra C. Jones makes work that embraces the digital photography + social web revolution to the fullest extent. She combs the web for pictures that fit whatever project she may be working on (above, wallpaper made entirely from images of flamingos), many of which end up being amateur digital snapshots uploaded to Flickr or other photo hosts. Taking this found photography, she creates art – sometimes smart, sometimes clever, sometimes thought-provoking compositions.
Cassandra C. Jones was recently featured on BoingBoing Video. The interview, which I highly recommend watching, is after the jump, along with some more images of her work.
Like many directors, Stanley Kubrick (known for such iconic films as The Shining, Clockwork Orange, 2001: A Space Odyssey, and Full Metal Jacket) began his love of film for the medium’s capacity to immediately capture scenes developing around him. The award-winning director’s photographs show early promise, mastering stylistic elements such as composition, lighting, balance and subject, which might not be surprising. However, the young Kubrick’s subject matter, mostly street-scenes with everyday New York and Greenwich Village people, life and struggles, might surprise some coming from the famed science fiction director. The photos, which have a nostalgic tone not necessarily associated with the forward-thinking director, certainly bring a romantic mood to the seemingly simpler time.
Many of these photos were taken during the 1940’s, while Kubrick was employed as a photographer for Look Magazine (a gig he landed while still a student at City College New York). It was while working for Look that Kubrick began associating with the film programs at the Museum of Modern Art, a connection which eventually launched Kubrick into a career in his life-long interest of film. (via everyday-i-show)
As 2013 draws to a close, it becomes easier to see the trends in art, design and visual storytelling that attracted especially popular interest over the year. Among them were the use of superheroes, which only decades ago were confined to a mythology only ‘nerds’ spoke of. But with superheroes becoming ever-more popular and Geek culture no longer a source of shame, comic book and science fiction heroes have become instantly recognizable forms of pop symbolism for many. Beautiful/Decay featured the work of Andreas Englund’s aging superhero paintings, Alex Lukas’ referential superhero screenprints and Antonio Strafella’s comic heroes as saints, all who took these mythologies and blended them with updated styles, forms, perspectives and techniques.
Josh Lane (Ln) took the same cues with his perfectly titled Hero-Glyphics series, combining a variety of classic comic book (the X-men, Spiderman, the Avengers) and sci-fi (Star Trek) heroes, and re-imagining them in the style of Ancient Egyptian hieroglyphics. Ln expands on the classic heroes as well, also casting 90’s nostalgia (in the form of the Power Rangers and Teenage Mutant Ninja Turtles) as well as newer comic and movie characters (Kick-Ass).
when captured from the side, you can see how the individual layers of paint appear out of the white surface.
Swiss photographer Fabian Oefner’s latest “Orchid” series of paint actions depicts the ephemeral nature of gravity and fluid paint, frozen in time. In each image Oefner captures a fleeting moment with his camera which appear to look like sculptural floral blooms when in fact they are explosions of paint set into motion by gravity.
In his unique process Oefner filled a tank with several layers of different colors of liquid paint with the top layer being either black or white. Then, a sphere was thrown into the paint. As the falling object splashed into the tank, the paint was forced upwards, shaping the individual layers of paint into a blossom-like structure.
“Orchid” is about preserving ephemeral beauty. Photographed with high speed devices, these images capture structures of sublime elegance, which appear only for a fraction of a second before disappearing beneath the surface again. (via designboom)
Amidst the violence and chaos ravaging parts of her native Lebanon, the photographer Rania Matar does not aim to make sweeping political statements about the Middle East; with her complimentary bodies of work titled Ordinary Lives and What Remains (now on display at Houston’s Bank of America Center), she hopes to capture the resilience of the human spirit. Fighting the photographic and documentary urge to re-victimize survivors of war, she offers a more nuanced picture of the lives of Lebanese women and children.
Much of Matar’s work explores global representations of femininity—in a recent monograph, she published images of adolescent girls inhabiting a space between freedom and familial responsibility, the childhood bedroom— and in Ordinary Lives, the artist’s powerful sensitivities color the otherwise bleak black and white war-torn landscape. In “Broken Mirror,” a young woman meticulously adjusts her veil before a shattered mirror, her perception of self seen as fractured by her environment but preserved within her emotional core. Similarly, “Dead Mother” captures the veiling process as a ritual connecting female youth to a monolithic photograph of the matriarch, an undercurrent of modern political and social debate serving as a relentless backdrop.
What Remains operates as an arguably less subjective series of architectural photographs, documenting the aftermath of 2006’s war between Israel and Hezbollah. The series separates itself from Ordinary Lives in its deliberate use of color; the bright blues and yellows read like surrogates for the displaced families that once inhabited the violated spaces, offering a powerful tonal continuation of the striking and complexly seen human spirit captured in Ordinary Lives. Where we once viewed children, embracing the walls in rich gray tones, we are offered a Winnie the Pooh wall hanging, daydreaming beside an empty closet. Take a look.
Some people are so creative, original, and unique that they have to constantly tell you how creative, original, and unique they are all the time. This entertaining video is about them.
Watch the full video after the jump.
Winter is coming! Well, not so much in Los Angeles (although it did get down into the 40s last week), but across the country it seems to be looking a lot like Christmas. One of any creative-minded individual’s favorite winter pastimes is making snowmen. The four artists listed below take the art form to another level, incorporating the usually ephemeral figures into their art oeuvre in unique and intriguing ways.
Tony Tasset’s snowmen are partly funny, partly sad and partly just amazing sculptures. Made from glass, resin, brass, enamel paint, poly-styrene, stainless steel and bronze the snow replicas are surprisingly convincing. Catching a viewer off guard in a gallery setting, the snowmen freeze (pun intended) in time a phenomenon that is never the same—unlike in real life, Tasset’s snow personalities might last forever.
Kristina Solomoukha lives and works in Paris, France. Her process is a reflection on urban space. She pulls from codes and vocabulary from urban environments, combining them with her personal ideological view to create individual works and installations. Playing with words and the absurd, her works, such as Discobaba, magnify and exaggerate existing aberrations.
Identified as a Young British Artist, Gary Hume, now 51, creates his snowmen images and sculptures by reducing them to their simplest forms. Stacked spheres, the shapes are mere implications of a snowman, allowing a viewer’s mind to complete the association. Titling the series “Back of a Snowman,” Hume’s works take on a melancholic mood. We suddenly picture the snowman contemplating his own mortality, which in turn, might make us reflect upon our own.
Described as a pseudo Pop artist Todd Hebert’s meditative paintings apply airbrushed acrylic and super-realistic renderings to common holiday imagery. The effects are narrative in a way that allows a viewer to be reflective about life at the various points of the year marked by the holidays.