Adam Lister combines geometric abstraction, cubism, minimalism, pixelation, and popular culture to create his vibrant watercolor paintings. Through visual abstraction, Lister is able to render familiar images from film, television, and the art world, combining various nostalgic representations. In a collaboration with artist Isaac Budmen, Lister also creates 3D sculptures of these 8 bit paintings by using a 3D printer and sandstone that are available for sale.
Lister explains to The Washington Post, “Having grown up playing Atari and Nintendo video games, this broken-down, angular method of processing and displaying information became an interesting guideline for me to translate and selectively restructure some of the most famous paintings in the world.” (via neatorama)
Fra.Biancoshock insists he is not a street artist, but rather the Milan-based experientialist noticed that his street-level installations and interventions spoke using the same language as Street Art. In regards to the movement of Street Art in regards to his work, the mysterious, identity-protecting Fra. says, “For me, that phrase is a provocation: I have not studied art, I do not frequent artistic circles, or amicidell’amicodelcuginodelfratellodelsuoamico … And I have no particular technical and artistic skills. I just have ideas and I like to strain my mind in trying to propose to the common people through what I call “Unconventional Experiences.” I think mine are “experiences” rather than works of art.”
With ties and intentions closer to Performance and Conceptual Art (for those paying off MFA degrees, think Guy Debord), the man who would become Fra.Biancoshock developed the performative avant-garde school of art he calls Effimerismo (“The Effimerismo is a movement that has the aim of producing works of art that exists in a limited way in the space, but that they persist in an infinite way in time…”) as a means of exploring and categorizing his specific means of street engagement (or as he is known to call them, “speeches”).
Operating in this very-intentionally public mode of communication, Fra.Biancoshock uses the streets as a forum, installing temporary interventions to call attention to themes of poverty, urban blight, modern stress and decay. Present in most works is how Fra deals with serious themes with a disarmingly light-hearted approach. His work has mostly been viewed (often quite temporarily) in Europe, though as Fra. says in his Manifesto-like statement, “Prior to founding the movement, [Fra.biancoshock] has made more than 400 speeches on the streets of Italy , Spain , Portugal, Croatia, Hungary, Czech Republic, Malaysia and the State of Singapore, and has no intention of stopping.” (via hi-fructose)
Mel Kadel is originally from Harrisburg, Pennsylvania and graduated from Moore College of Art in Philadelphia. She now resides in Los Angeles (and represented by Richard Heller Gallery), in a log cabin by the 5 freeway. She works using ancient papers, tiny pens, Q-tips and glue.
Everyone loves a good behind the scene video that gives you a sneak peak into the artists creative process. The above video showcases the tedious process of stop motion. the means are simple but the final product is a lo-fi meets high concept video could have been made by a big budget studio. More info about the project after the jump!
On the surface, Rudy Shepherd’s work appears simple, some might even argue amateurish. However, spend a little more time with these pieces and the lines starts to deepen with a raw energized intention, especially when paired next to one another in a specific series such as this one titled “Psychic Death.”
What is a psychic death? It sounds devastating. I look this up on the Internet and discover it’s a term relative to fearing one’s own physical death, a collection of energy manifesting negatively as anxiety in the body. To experience psychic death is to endure a dualistic sense of panic and release– or to embrace a deep personal concept of power and loss. This is what Charlie Sheen, Osama Bin Laden, and Columbine have in common, and these painted images are not just about them, but us as a society. How do we as a nation move beyond headlines and examine our own psychic death? Rudy Shepherd doesn’t just want us to think about it, he wants us to think by feeling, and this is what great art does.
According to his website, Rudy Shepherd’s work “involves investigations into the lives of criminals and victims of crime. He explores the complexity of these stories and the grey areas between innocence and guilt in a series of paintings and drawings of both the criminals and the victims, making no visual distinctions between the two. By presenting the people first and the stories second a space is created for humanity to be reinstilled into the lives of people who have been reduced to mere headlines by the popular press.”
If you’re familiar with ideas about art therapy, the intersection of Eastern and Western spirituality, personality attributes and assessments like Myers-Briggs, New Age philosophy, or Joseph Campbell’s “hero’s journey,” you have Carl Jung to thank. Best known for his work in psychotherapy and psychiatry and as the founder of analytical psychology, (distinct from Freud’s psychoanalysis), during his life, Jung also contributed to a beautifully illustrated personal journal between the years 1914-1930 known as The Red Book, or Liber Novus (Latin for New Book). This journal chronicles a deeply personal voyage of self-discovery that Jung did not wish to be published while he was alive for fear that the book could ruin his professional and personal life, and that people would think him mentally unstable. However, it’s the belief of Jungian scholar Sonu Shamdasani that Jung intended for this work to eventually be published. Shamdasani points to the fact that Jung’s journal is addressed, “dear friends,” and that that he would often lend the journal to friends and patients during his lifetime. After Jung died in 1961, his heirs were reluctant to release the contents of the book, and kept it stored away in a bank vault in Switzerland. It took Shamdasani 3 years to convince his heirs to allow The Red Book to be published, and an additional 13 years for the entirety of the calligraphic text to be translated from German to English.
Published in 2009, The Red Book contains Jung’s self-explorations, representing the source of many of Jung’s theories regarding the collective unconscious, archetypes, psychological types, and the process of individuation. “The overall theme of the book is how Jung regains his soul and overcomes the contemporary malaise of spiritual alienation. This is ultimately achieved through enabling the rebirth of a new image of God in his soul and developing a new world view in the form of a psychological and theological cosmology.” Accompanying the calligraphy of Jung’s text are incredibly controlled surreal illustrations of psychologically and spiritually thematic images.
Art critic and Huffington Post contributor Peter Frank considers The Red Book a great work of art, writing, “It is an endlessly fascinating and staggeringly luxurious artifact, a thing of beauty and of magic. It could pass for a Bible rendered by a medieval monk, especially for the care with which Jung entered his writing as ornate Gothic script. It just happens that his art is dedicated not to the glory of God or king, but to that of the human race.” Frank also identified the presence of a small egg within every image included in The Red Book, explaining that “the egg starts to give off light and then to explode out.”
Jung writes at one point in The Red Book, “There is only one way, and that is your way. You seek the path? I warn you away from my own. It can also be the wrong path for you. May each go his own way. I will be no savior, no lawgiver, no master teacher unto you. You are no longer little children. … May each seek out his own way. The way leads to mutual love in community. Men will come to see and feel the similarity and commonality of their ways.” You can read the entirety of The Red Book as an ebook over at the Internet Archive. (via npr and independent)
Takato Yamamoto paints intricate scenes of both delicate beauty and savage darkness. Yamamoto calls his style “Heisei Estheticism,” which blends traditional Ukiyo-e woodblock prints with images of bondage and horror akin to those found in modern manga. Serene-faced girls with bloodstained and skeletal bodies oversee their quiet victims; bodies punctured with arrows twist in what could be agony or sexual ecstasy. Despite his disturbing subject matter, however, Yamamoto never shows violence in its most gratuitous moment; instead, he depicts rising tension, conjuration, and the aftermath—the vampires recoiling with their prey, dark rituals blooming into grotesque beauty, and uncanny sexual encounters.
Sex and death are familiar lovers in Yamamoto’s works, wrapped up together like cadaverous bouquets that manifest the fusion of pleasure and pain. Morality is subsumed into visceral moments of seduction and satisfaction. Despite the brutality, there is a sensuality that emanates from the paintings—one that explores with detail the experiences of the body as it passes over thresholds of desire and mortality. With delicate lines and interwoven forms of beauty and rot, Yamamoto’s erotic nightmares stir the imagination.