Photographer Maja Daniels is studying aging. Her photo series “Into Oblivion,” shows the raw and fragile lives of those living in an Alzheimer’s ward. Working in a geriatric unit in France, the Swedish photographer Daniels spent three years documenting life for the residents. Those suffering from Alzheimer’s were kept in a locked ward as a protective precaution due to their innate tendencies to wander and get lost.
“This series documents not only the day-to-day challenges in an often ignored sector, but also the wider implications of the growing populations of elderly in modern society as an increasing life span has coincided with the breakdown of the family unit. These aspects have caused a growing disregard for the elderly, swept aside by a commercially driven, youth-obsessed culture. As growing old and being dependent is more taboo than ever, the geriatric institution hides our elders away, safely out of sight.”
Children do not care for their parents as they once did, and national healthcare often fails to meet the needs of those who need it. Bringing the viewer into the heart of this lifestyle, Daniels is hoping to motivate us to view our own personal role within healthcare policy:
“While giving a vision about what living with Alzheimer’s in an institution might mean, I want to motivate people to think about current care policies and the effects it can have on somebody’s life. This project gives a rare insight to a part of the modern geriatric institution. It attempts to create a discussion about our institutionalized, modern way of living as well as the use of confinement as an aspect of care.”
Did we ever have a grand ole time at the “Art Works Every Time” opening this past Saturday! We had record attendance, with party-goers spilling out into the back patio and onto the streets!
The Colt 45 ice cream was a smash hit- more than the carbonated beverage you might expect straight from the can, the tasty treat was was more like a delicious chocolate gelato with subtle hints of malt. (That’s my best “foodie” review of it, anyway.) I didn’t personally partake, but a few Colt 45 ice cream beer floats were rumored to be…”floating” around.
Our t-shirts, with featured artist Colin Strandberg’s winning design, “sold” like hotcakes. (And by sold, I mean given rampantly given away.) Charlyne Yi’s humorous & raw lo-fi performance called to mind the anti-folk avante-garde musical stylings of the Moldy Peaches and packed the house. Colt 45 was imbibed by all (with specially-made brown paper back beer cozies). Good times abounded. Check out some snaps after the jump, and view the full set on our Flickr!
Thank you to everyone who came out, the artists Colt 45 and Synchronicity Gallery for making this event a huge success!
Via Colossal: “Sculptor Manuel Martí Moreno lives and works in Valencia, Spain and forms these wonderful figurative pieces out of iron nuts. Via email Moreno says that he is most interested in showing the passage of time, the transience of life, and our collective awareness of our own mortality, seemingly evidenced by the spectre of decay at the edges of his works. You can see more images including installation shots on his blog, and also here. If you liked this, also check out the sculptures of Park Chan-Girl.”
Dutch artist Art Van Triest plays a dangerous game. He encourages people to break the law, just by fitting a jigsaw puzzle piece together. After tracking down different weapons that are illegal to possess (Kalashnikov, Pistol, Machete), he uses a water cutter to splice them up into traditional jigsaw puzzle piece shapes.
For Triest it is important for the work to be made out of an actual weapon, and for the person solving the puzzle to be committing an illegal activity. He tells The Creator’s Project:
According to Dutch law, it is illegal to have any object that can be mistaken for a weapon, even when that weapon it is no longer useable… [to possess] a non-working gun-like object is already prosecutable. As an artist I think it is interesting to create work that embodies a kind of friction, an object that is at once a toy and a weapon. (Source)
Triest creates many different games and playful art pieces he wants the audience to interact with. He aims to change how people perceive everyday items they would normally avoid. In one piece (Dubbellloops / Shake Hands) he has welded two guns together and asks people to hold one trigger at the same time, as a method to ‘get to know each other’. In his installation Platoon, he places visitors looking directly down the barrel of a firing squad and has lasers following them around the space. Exploring the border between ‘object’ and ‘weapon’, Triest turns normally dangerous items into harmless, even playful ones.
Exploring turning other unsuitable objects into puzzles, Triest has a bright idea for his next project, that I’m sure will attract a lot of curious people wanting to solve it.
Beauty is Embarrassing is a newly released documentary film chronicling the life and work of California artist/designer/madman Wayne White. Last weekend, I was lucky enough to catch a screening of the doc and a Q&A with White and the film’s director, Neil Berkeley. White, who’s worked on countless design projects including Pee-wee’s Playhouse, spends a large portion of his time these days making “Word Paintings”- humorous text-based works done on recycled thrift store landscapes.
White’s had quite the career, and it’s great to see him getting some much-deserved recognition. The film takes you through his childhood all the way up to the present day. A pretty epic life. He’s spent time as a struggling cartoonist living in Lower Manhattan, done a stint working on Pee-wee’s Playhouse, burned out trying to make it in Hollywood, and raised a family. But he’s still just a Southern-bred outsider compulsively making art to deal with the crazy world we live in.
A really great watch. Check out a trailer for the film and some of the artist’s paintings after the jump.
Sarah St. Clair Renard‘s website is divided into “Fashion,” “Portraits” and “Stories.” I love that last section, as all the photographs have no captions. We’ll never really know what stories she refers to. Her photographs capture a etheral feeling, be it fashion spreads, intimate portraits or seemingly snapshots of a high school football game. Also check out her blog, she posts more pictures from her day to day life there.
Van Orton Design has recreated cult classic movie posters as vibrant digital works of art. The team is a creative collaboration of twin brothers from Turin, Italy. Using digital illustration tools, the brothers have created stained-glass reminiscent, 1970s retro themed images that are unbelievably elaborate and profoundly structured. Each poster is formulated by using the classic “one point perspective.” This is a a formula used by old masters that organizes an entire image based on a single vanishing point in the center. Every line is aimed to draw attention to the exact middle of the work — perfecting it’s perspective while simultaneously controlling the viewer’s eye. The posters portray a familiar scene from each film. The series ranges from new classics to older cult epics including The Shining, The Life Aquatic With Steve Zissou, Pulp Fiction, 2001: A Space Odyssey, Young Frankenstein, Knight Rider, Deep Red, Indiana Jones and The Last Crusade, The Legend Of Zelda, Big Trouble in Little China, Brazil, and others of the likes. Their style is simultaneously unique and archetypically vintage. The use of loud color and clever hue pairing scream out for attention without being overbearing or overtly overwhelming. Van Orton Design‘s work hits the mark of what any good movie poster should achieve; they both embody and generate excitement for every single film. The duo have created something truly collectable and and absolutely fun. (via designboom)
American photographer Christian Weber‘s work often finds him in the midst of a barren landscape. This can sometimes mean a cold, industrial city or a desolate NASA laboratory. Or, in the more traditional sense of “barren landscape,” it can mean the wide open spaces of Iceland or New Mexico, pictured above. The way he chooses to capture these spaces – in a very straightforward, documentarian/detached manner, is a reflection of the environments themselves.