I’ve been a fan of Dinosaur Jr. since I was 12 years old so it’s awesome to see that the bands frontman J Mascis has released a solo album on Sub Pop of folky acoustic songs that will satisfy the biggest Dinosaur Jr. fan while giving J enough room to musically branch out. If that’s not enough the trippy stop-motion video for the single Not Enough will keep your eyeballs popping while your head is nodding. Watch the full video directed and drawn by fellow musician Chad VanGaalen after the jump.
Jeff Faerber’s naughty painting series based on traditional Japanese Shunga prints capture the look of the original prints but update it with western figures and modern day gadgets, products, and food. It’s truly modern shunga.
If you don’t know about Camille Rose Garcia and her twisted fantasy worlds, now you know. The artist has been killin’ it for a while with dark mixed media paintings that are easy on the eyes the way the poisonous apple in Snow White tastes good- you know there’s something sinister at work here, but you can’t help yourself anyway. Garcia’s colorful works feature animals and pretty ladies, neither of which are innocent. Watch your back. More snaps after the jump, and check out her blog, which, if not updated regularly, is a nice window into what the artist’s thinking.
Nice colors, sounds, patterns, and movements can all be found in this Future Deluxe video.
Berlin based digital art and design studio, Onformative, has recently installed their newest project, ANIMA iki, an “immersive experience of light and sound.” The installation is made up of a large glowing sphere that spans two meters in diameter and is suspended from the ceiling in a dark room. The orb is lit up by a visual aimed to mimic a “viscous metallic fluid” that’s hue and tonality shift and become distorted, creating a futuristic, mysterious aura. The “glow” within the sphere is created from a powerful wide angle projector that uses a fish eye lens and can create 360 degrees images. By manipulating the audible frequencies, the installation is able to “respond” to the space though picking up and reverberating the sound back. ANIMA iki is able to create visual and sounds in real time by responding to a Kinect tracking system that has the ability assess movement within its atmosphere. As the orb has a complex interaction with light and sound, the installation is able to seem alive. The orb seems to be able to have a personal interaction with the viewer, creating a strange, interesting experience.
Founded in 2010 by Julia Laub and Cedric Kiefer, Onformative offers a space they describe as “guided by an emotional approach, we constantly search for new forms of creative expression. Through an experimental practice we create meaningful works to challenge the boundaries between art, design and technology.”
The work was originally commissioned for the Amsterdam Dance Event and has since been exhibited at various galleries in the Netherlands and Germany.
Trapped behind glass cases, the miniature human subjects of Lisa Swerllng’s Glass Cathedrals unabashedly perform daily rituals normally veiled from the outside world. The stunning pieces afford viewers with a whimsical type of voyeuristic indulgence. Like children before a set of dolls, we are invited to examine the many mundane moments that compose adult life, breathing life and meaning into each dollhouse-like setup with our own imaginations.
With its feet firmly planted in childlike curiosity, the series is unafraid to veer into tragic emotional spaces; caught staring into endless amounts of white space, many of the figures appear lonesome and fully aware of their smallness. A woman scrubs at a dizzyingly vast array of tired floors and walls, incapable of completing her work for her own tininess and permanently fixed position. Similarly, a man stares at his cow, a sole companion who does not return his gaze.
Though humorously seen, Swerling’s models are at times bitterly unaware. A group of people stand before a glass case containing the figure of a generic ghost labeled “god” with a sign stating, “In case of emergency break glass,” not noticing that they themselves are encased in glass, searching for meaning in the touchingly absurd. The viewer, in turn, is forced to face his or her burning existential yearnings within this magically adult dollhouse.
The idea of domesticity as it relates to femininity shines through in Swerling’s work in unexpected ways. A piece titled “A woman’s work is never done” features a woman sweeping pink glitter, erasing the suggestion of the usual portrayal of the home as unfulfilling; here and in a piece that features a woman serving dinner at the head of the table, glitter serves as a surprising and ecstatic symbol of female self-actualization. From the woman who examines herself before a mirror to an unwaxed redhead standing nude before circle of nuns, Swarling’s women embrace their activities unabashedly.
Hitting poignant notes that remind us of the power that lies beneath human smallness, isolation, connection, and actively defined identities, Glass Cathedrals serves as an alter at which we may worship our own condition. (via Foodie Bugle, Catto Gallery, and Lost At E Minor)
Saturno Butto’s dark visions of blood, sex, and bondage.