Alisa Ochoa’s paintings look like a kaleidoscopic world full of patterns, textures, and surreal happenings.
You can never have too many of these. Here are a few posters from classic Horror/Cult/Sci-Fi/Foreign B movies. Aliens, robots, vampires, zombies, slashers, babes. All the good stuff right here. If you’re having trouble finding inspiration for a design/illustration project, or just looking for a new stylistic direction, it’s not a bad idea to go over a few of these and loosen up a bit. Do it right, though. We’re not talking about straight copying or even borrowing here. Don’t be boring. And if you’re looking for more of this sort of thing, check out Wrong Side of the Art, a great archive for cult/low budget movie posters and stills.
Artist Daniaelle Simonsen plays with a unique process; this Los Angeles local combines her love of sewing and drawing with the ephemeral material of the magazine to create unique works, delicate yet fierce, that exist as individual art pieces and as usable art. You can also catch up with Daniaelle’s latest news via her blog.
Miranda July, author, director, actress, photographer, master of capturing pre and post pubescent awkwardness, and as a character who has risen to status somewhat similar to that of a cult icon…has done it again. Our friend Graham at Future Shipwreck has written a nicer summary of her project than I could ever…so here it is! “In the language of cinema, extras are designed to be forgotten. Miranda July’s recent series of photos (a collaboration with Roe Ethridge), in which she unthinkably excavates background players from historically popular films and poses herself in homage to these bygone human props, is a declaration of war on the finality of culture. She dares to reverse the mandate of natural selection.” I wonder though, how she chose the particular films and extras that she did. Were they just arbitrarily picked? Or did she think aesthetically about which movies and which scenes from those movies that the most interesting looking extras?
Skote disrupts your normal routine. Founded in 2006 by artists Jill Pangallo and Alex P White, Skote is a performance collaboration dedicated to the value of artistic play and group dynamics. Skote utilizes the unpredictability of public interventions and the accompanying documentation to evoke an alternate universe that blurs the boundaries between visual art and theater, audience and performer, fiction and fact. “Produce. Consume. Discard. Are you buying?”
This documentary features the story of self-made curators Herbert and Dorothy Vogel, a couple who began collecting works of unknown artists in the early 60s, crowding their little one bedroom apartment with tiny artworks by following two rules: 1. affordable, 2. small enough to fit in their apartment. The collection developed into one of the most important contemporary compilations – many of the amateurs they befriended in their early years continued on to become world renowned artists. Today, the collection is worth millions of dollars, but the couple has yet to sell a single piece. Their apartment got so packed, Dorothy reminisced, “Not even a toothpick could be squeezed in.” The couple donated a great part of their collection to the National Gallery of Art in Washington D.C. The Vogels still live in the same little apartment, and have restarted their collection again. “Curatorial visionaries,” they started their collection on meager means, Herbert a postal clerk and Dorothy a librarian; even with the rising fame of their collection, the two have maintained a humble lifestyle, sharing their space with fresh art, 19 turtles, fish, and a cat!
In the dawn of an era where Facebook has added a customizable option with about 50 different terms people can use to identify their gender, and an oscar nominated film about AIDS and a famous male, straight musician playing a transgender role (aka Dallas Buyers Club), we are bound to see more projects like JJ Levine‘s in the mainstream media.
The Montreal based photographer, an avid cataloguer of trans and queer communities since early 2000’s, creates Alone Time, a series of photographs in which he recreates typical domestic environments that play around with the idea of gender stereotypes. For this project he uses one model only; the one model is to play both the male and female characters in the image. The result, Levine said, “challenges the normative idea that gender presentation is stable or constant. Rather, gender expression can be fluid and multiple.”
“work is emerging at a moment when people are starting to talk more about gender and sexuality in the public sphere, which allows more space for queer cultural production and representation in the mainstream.”The thought-provoking work gives us the chance to become vulnerable and empathetic towards
The thought-provoking work not only give us, the viewer (of any gender,) the possibility to become vulnerable and empathetic, but also the ability to imagine ourselves in this specific situation. What would it be like to be a member of the opposite sexes? Do I, in anyway, resemble some of all the male/female/transgender characteristics?
Levine, a trans and queer man, uses his sexuality, gender and past experiences in his art in order to reach out to those who are not necessarily familiar with the subject. He intends to expand awareness through creating work that is familiar to all, and not just one gender. He notes that his images “talk about and celebrate marginality from a place of familiarity and self-exploration as opposed to voyeurism.” (via Slate)
It sounds cliche, but scars really do tell stories. They speak of things like accidents, turbulent periods in our lives, and the road to recovery. Sometimes scars have funny origin stories and other times tragic ones. Photographer Sandra Franco explores these permanent body marks in her aptly-titled series, Scars. The quiet, intimate images feature people with these blemishes on their bodies, which are now apart of their physical personal history. Some are more noticeable than others, and on backs, arms, and even the neck. Franco explains Scars, writing:
Memory can be fragile and people find particular ways of holding on to it. Due to their strong evocative power, there is an evident connection between photographs and memories which I find fascinating. In this sense I observe a few parallelisms between scars and photography.
They share not only an aesthetic value, both being affected by the idea of “beauty”, but also an organic quality. Film ages and changes its properties in a similar way our body does, more visible through the marks, wrinkles and eventual scars left in our skin with the passing of time.
Thus, while taking a picture of a particular moment in time, light “scars” the negative, which once developed becomes a reminder of the past event. Some dramatic experiences, positive or negative, leave a physical trace on our bodies made visible through scars.
For me, scars are able to bring experiences from the past to the present moment,acting like “prints of memory”, just like photographs do.