A) Facts are useful.
B) Anything drawn with Sharpie makes us happy.
Young is a design studio based in the UK, and they have dedicated an entire site to making wonderful renditions of daily tidbits, submitted by readers, etc: Learn Something Every Day. Not only are they quite entertaining to look at, but who would have thought that Dali designed something cohesive!?
James Jean is probably one of the few artists that has emerged out of the illustration/street art/comic book world who is successfully transitioning into the fine art community. His upcoming show at Martha Otero gallery is sure to a smash hit with the lush painting, rich subject matter, and amazing sense of color. Show dates, times, press release, and another sneak peak at a new painting after the jump!
On March 29, 2014 19 artists gathered at Loakal Gallery to live-paint 19 different works that would later be part of Carpe Diem, a 24-hour art show. Each artist was given a 4′ by 8′ panel and 24 hours to complete their work. The gallery was open to the public all 24 hours of the painting day so that people could engage with the artists and observe them at work.
From street artists to classically trained painters, they all showcased their process in a way that resembled a happening- the idea of the painters’ performance was one of main ingredient is the uniqueness of this show. The artists, challenged to complete a 4′ by 8′ panel within a tight time frame, had the opportunity to perform and, at the same time, engage with spectators. Viewers not only had the chance to observe but actually participate in the process- chance was very much a part of this 24-hour art making extravaganza.
Apart from creating and sharing the process with spectators, the artist were able to engage and work with each other. For many of the artists, art is typically a solo act, done alone in one’s studio, while street artists and muralists like Ian Ross, Hueman and Nite Owl had more experience with being out in the open while creating their work. During the event, the artists involved turned to each other with a more social approach.
Full list of participating artists: Jessica Hess, Ian Ross, Hueman, Reggie Warlock, Chris Granillo, Eddie Colla, Cameron Thompson, Brett Amory, Lisa Pisa, Nite Owl, John Wentz, John Casey, Marcos LaFarga, Jet Martinez, Cannon Dill, Lauren YS, Zoltron, Max Kauffman and Daryll Peirce.
Loakal is located in the Jack London Square district of Oakland and is open 7 days a week to the public. The entire show is on view until April 28,2014. (via Huff Post)
Throwing abuse at people is easy. Getting paid to do it is another matter. London based illustrator Mr Bingo does it with ease, and loves taking money for his efforts. The prankster receives offensive sayings from visitors on his twitter page, draws pictures to accompany the words, and sends the composited postcard to the chosen (willing, or unsuspecting) victims. For 50 quid, plus postage, you can receive a customized card that tells you exactly how crap you are. Quite surprisingly, the abusive service he offers has proven to be quite popular. Mr Bingo explains how it all began:
It all started one night in my studio in 2011 when I’d had a few drinks. I went on Twitter and said I will send a postcard with an offensive message to the first person who replies to this. (Source)
After receiving over 50 replies in a matter of minutes, he sent the postcard to ‘winner’ to Jonathan Hopkins from Forest Hill in London, stating that Mr Hopkins had shit legs. “Fuck you, Jonathan, fuck you and fuck your shit legs” the card read. Even though he was saying something that would be offensive, even repulsive to some, Mr Bingo’s card went down a treat and kickstarted a niche market for cards that knocked the receiver’s self confidence.
Essentially, what I was doing was enabling strangers to pay me to tell them to fuck off. All this is comedy. It’s clear that the hate mail is a joke and that I’m only sending it to people who want it. (Source)
Mr Bingo himself receives a lot of hate mail, but takes it all on the chin, as he expects his clients to do. He is the type of person that considers swearing funny, and in fact necessary, but refuses to poke fun at homophobia, racism, religion or disability. The cheeky illustrator has also launched a (successful) kickstarter campaign to fund a printed collection of his postcards. You can see that project here. (Via Juxtapoz)
Photographer Ana Oliveira‘s Identities II is a touching series of portraits. She begins with old photographs of her subjects and through similar lighting, clothing, and poses she creates a parallel photograph. As much as sixty years lies between some of the older and newer portraits. The two portraits arranged side by side become a sort of existential before and after. I find myself imagining what took place in the decades between the two photographs, evidence of something in the now more pronounced lines in each sitters face. Its difficult not to envision expressions of expectation in the younger portraits, and mixtures of disappointment or content in their older counterparts.
Early morning at the hotel in Wales. ‘Shadowman’ wakes up with his doll Carly. He has 2 adult daughters with another woman. Besides Carly he has 4 other dolls. Bianca is one of them. His dolls are not part of a daily life with his family, but everybody knows of their presence. Shadowman recently got divorced from his second wife.
Phil stopped smoking for a year to be able to afford his doll Jessica. He is aware that she’s a doll, but simply doesn’t care what anyone thinks about his choice of lifestyle. Phil’s friends all know of her existence.
Rebekka and June in the backyard of Everard. He has 12 dolls and often takes them to the garden for a photoshoot. His neighbours go inside when he enters with his dolls. Everard has only had one relationship with a living woman and has difficulties understanding women. He is lonesome but his dolls give him kind of a comfort by their presence. The men are in general vain towards the dolls; they use a lot of time to make the hair and make up right before they picture them. That is also the reason why Rebekka and June are wearing summerhats – not to have the sharp sun in their face.
In 1986, after having their first child, Chris Zacho’s wife filed for divorce. He was refused contact with his daughter for years. Every now and then he would try to search his daughter’s name on different social medias to get back in touch and a few years ago he managed to find her, now married and a mum of 2. It has been very painful for Chris not to have been a part of his daughter’s life, so it was big when they finally reunited.
While, since its popularization in the 1990s, the phenomenon of sex dolls—life-sized and lifelike synthetic figures intended both as erotic objects and as stand-in companions—has been riddled with condemnation, Danish photojournalist Benita Marcussen seeks to shed these judgments through her series, Men & Dolls.
Following a group of six male doll-owners, Men & Dolls documents the individuals’ relationships with the anatomically-correct mannequins and provides an intimate glimpse into this controversial lifestyle. While the identities and situations of the subjects greatly vary—two men are married with children, two have been through a divorce, one was once betrothed in a dead-end engagement, and one has never had a girlfriend—they have one very apparent thing in common: they each consciously turn to dolls as a means to alleviate their loneliness.
This is why, in the photoseries, Marcussen does not solely focus on the sexual aspect of neither the dolls nor the relationships that they facilitate. She presents, rather, images that convey the ways in which the men incorporate the dolls into their daily lives and treat them as sentient—albeit intimate—companions.
Ultimately, whether clad in a sun hat and seated outdoors, dolled up in formal attire, carried around on a romantic pseudo-stroll, or wrapped in an embrace on a bed, it is clear that each doll featured in Men & Dolls is so much more than a sex toy. (Via Feature Shoot)
The series Like Everyday of Iranian photographer Shadi Ghadirian is powerful in its simplicity. She created the images shortly after marrying her husband, and indeed the series explores her concerns associated with being a wife as well as gender roles. In the series figures appear to be veiled in patterned cloth similar to the traditional Iranian Chador. The figure’s face, however, is obscured or replaced with a household item, often one associated with daily chores. Ghadirian says of her subjects, “My series is exactly like a mirror of my life and other women like me — my sisters, my friends, the women who live in this country.” Though the series specifically addresses Iranian women, the photographs capture more universal anxieties concerning gender roles – the anxiety that accompanies building an identity as a woman and a wife, navigating issues of power within a marriage.