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Michelle Muzyka’s Memories In Decay

Check out Michelle Muzyka’s Memories In Decay installation consisting of ultra detailed cut paper sculptures.

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Ashley Comer’s Poignant Series Documents Meeting Her Estranged Birth Mother For The First Time

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After being apart from her own birth mother for more than 22 years, photographer Ashley Comer decided to meet the woman missing from her life and document the very personal and intense journey. While living in Georgia, Ashley decided to contact the adoption agency that facilitated her very own adoption and found that her birth mother Sheila was living in Florida, a mere 4 hour drive away from her at the time.

Using the excuse of the photographic project, Ashley contacted her birth mother and over several weekends and took some intimate and touching photographs. She managed to capture beautiful scenes of the two of them getting to know one another again, and the similarities in their physical appearance. They not only feature in the photographs together, the images are actually a collaboration between the pair.

It is easy to see the natural bond between the two women in Ashley’s snaps. And even though Ashley has now returned to Massachusetts, meaning they are unable to spend weekends together, she doesn’t doubt that they will keep the newly formed relationship going.

You can see the full collection of photographs from Ashley’s project Meeting Sheila here. (Via Feature Shoot)

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Anarchy Alchemy

Franz Thues and Dirk König AKA Anarchy Alchemy are two art directors based in Düsseldorf, Germany. They make pictures harnessing the magic of generative design. All of their illustrations are generated by programs they write for each specific illustration series, allowing them to create a potentially endless stream of pictures on the press of a button.

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Charlotte Dumas’ Unforgettable Photographs Of Mysterious Burial Horses Will Stay With You

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At the grave of a fallen soldier stands a pale white horse, regal and majestic, with his mane in tight braids. In Anima, the photographer Charlotte Dumas delves into the quiet moments in the lives of burial horses, known for participating in the funeral ceremonies at Arlington National Cemetery. The magnificent equine creatures— who by day serve as living manifestations of moral ideals, patriotism, and righteousness— are caught by Dumas’s lens in nighttime moments of introspection and rest.

After the flags are folded, after the firearms have rang out, the horses remain in their small box stalls, resting on humble beds of shavings and hay. Shot under Dumas’s gleaming twilight lighting, the animals are pictured in the final minutes before sleep. In stark contrast with the colorful visions of their burial services, they are bathed in a moody Rembrandt-esque glow that streams in from metal bars, seemingly retreating into an unknowable equine psychology.

Yet within these peaceful moments, Dumas captures an anxious sense of unrest. A horse’s glinting black eye remains open as he twists his neck, revealing waves of muscle under short-clipped fur; a long nose, its hair worn away by a bridle’s noseband, pokes out into the light, emerging from sleepy darkness. The neck and back of the creature is fixed in the frame, isolated from the rest of the body, as he goes to stand upright, his withers stained with manure.

The horses range in age: some wear the grey fur of youth, while others are pure flea-bitten white. Seen here, it is as though the horses cannot escape the atmosphere of the cemetery, confined within their dark stalls forever by some invisible knowledge of death. Take a look.

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Taisuke Koyama

Taisuke Koyama

Taisuke Koyama describes his works as “organic abstract photography”. He shoots surfaces and various states of degradation of artifacts in a city and thinks about those changes in state as the city’s metabolism- it’s an organism that’s changing every moment. It’s such a simple and beautiful idea.

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15 Examples of How Modern Hip Hop Artists Borrowed Fashion Styles From 16th Century Paintings

B4 - XVI

B4 - XVI

B4 - XVI

B4 - XVI

The tumbler B4-XVI berforesixteen has made a hilariously clever and all too accurate comparison between contemporary Hip Hop artists and paintings made before the 16th century, making everyone involved look quite ridiculous. When you first look at the fashion styles of centuries old paintings, you would not think anyone today would ever dream of looking like that, let alone a celebrity. However, if you think about it, what kind of person would wear flashy jewelry and frivolous fur coats? Well, Hip Hop artists! Their extreme amount of “bling” and often baggy clothing somewhat resembles the capes and jewelry of royalty depicted in classic paintings.

What makes the comparisons so on point is not just the uncanny similarities of clothing and accessories, but the position, stance, and even the facial expressions of both parties. I mean, what a lucky coincidence that Kanye West happened to be standing next to a priest for a hilarious comparison between himself and a painting of saints! Not to mention this goes perfectly with his infamous “Yeezus” complex. One aspect of Hip Hop style is missing from the series of 16th century paintings is the notorious “grill.” But don’t worry; there is instead a painting of two men proudly displaying their teeth while “mean-mugg’n” the viewer. This series of entertaining resemblances just goes to show you that every fashion style will make a comeback! (via Fubiz)

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Awesome Video Of The Day: Anti Gravity Free Fall

Ever think about what it would be like if gravity disappeared in the middle of the night? Zurich raised and NYC based filmmaker Elias Ressegatti did. Here are the results.

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Kevin Peterson’s Portraits Of Girls With Graffiti Backdrops

“Graffiti Girls” is a stunningly beautiful portrait series by Austin TX-based artist Kevin Peterson. His blend of both hyper realistic portraiture and natural graffiti penmanship is a new one, and his command of both styles is impressive. Peterson uses the rough and jagged shapes of wall tags to directly juxtapose the soft beauty of young girls; the ragged and worn versus the innocent and clean. Though subject and backdrop are polar opposites, the girls seem empowered by the art behind them, instead of shying away from it. They may live in a world that’s tagged up, but they aren’t scared of it. The color and design of the spraypaint behind them seems to enhance the girls’ beauty and personalities, especially with Peterson often coordinating the tags with the girls’ outfits.  These portraits help to make the argument that graffiti is becoming a more normalized form of public art, and though it’s not always pretty, younger generations growing up in this world are used to its presence, instead of threatened by it.

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