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Hot Rotor Magazine

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Here are some scans from the short lived Hot Rotor Magazine, which as far as I can tell was a promotional item issued by the turbine/rocket engine company Turbonique. The images, helpfully scanned by Jason Torchinsky, convey a playful sense of futurist optimism which was all too common in 1960s America, yet we can still clearly see that Turbonique’s vision of the future is very much steeped in 1960s industrial design and culture.

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Tom Howes Minutiae Interventions And Observations

Kalamazoo, Michigan based artist Tom Howes’ drawings, collages, and sculptures subverts both the seriousness and banality of  memories, ideologies, observations, and the minutiae of everyday life. Whether it’s with minimal engagement or a more expressive approach, he attempts to level the playing field between expectation and reality by directing attention to the obvious. In doing so, we learn that the obvious often remains subjective.

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Barry X Ball’s Marble Portraits

Portraits carved in marble have been around for hundreds of years but somehow Barry X. Ball has managed to bring a new twist to this ancient material with some minor tweaks like using the veins and swirls in the marble to his advantage. A great selection of Ball’s exquisite sculptures in a massive variety of stone after the jump.

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Nude Bodies Transform From Flattering To Unflattering With Slight Shift In Pose (NSFW)

Nude Bodies

gracie hagen Nude Bodies

gracie hagen Nude Bodies

Chicago-based artist Gracie Hagen has created a photography series titled “Illusions of the Body” that captures nude bodies in contrasting poses. In the “attractive” image on the left, the models represent their bodies with straight backs, pulled-back shoulders, and demure expressions – many of them stand posed in positions that reflect classical sculpture. In the “unattractive” image on the right, the bodies are turned and the models push out their stomachs, hunch their backs, and evoke expressions of indifference.

 

From Hagen’s Tumblr:

“‘Illusions of the Body'” was made to tackle the supposed norms of what we think our bodies are supposed to look like. Most of us realize that the media displays only the prettiest photos of people, yet we compare ourselves to those images. We never get to see those photos juxtaposed against a picture of that same person looking unflattering. That contrast would help a lot of body image issues we as a culture have.

 

Within the series I tried get a range of body types, ethnicities & genders to show how everyone is a different shape & size; there is no “normal”. Each photo was taken with the same lighting & the same angle.

Celebrate your shapes, sizes & the odd contortions your body can get itself into. The human body is a weird & beautiful thing.”

 

 

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Andrei Bouzikov’s Heavy Metal

Andrei Bouzikov’s gore filled illustrations can be found on your favorite metal band album art such as Municipal Waste and Cannibal Corpse.

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GU Photography

Gu photography’s portraits of Special Olympic Athletes.

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MRI Scans Of Fruits And Veggies Are Astounding And Mildly Frightening

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MRI technologist Andy Ellison spends his days scanning human brains, searching for abnormalities. He began scanning fruit on a whim, using an orange in a test of the machine’s settings; the results were so stunningly beautiful and transfixing that he began bringing produce to work, scanning our favorite fruits and veggies on his time off, and posting animated sequences of cross-section images onto his blog, Inside Insides.

The high-resolution black and white sequences apply the imaging tool to the arts, highlighting the geometrical perfection of organic objects. The slow motion animations are imbued with a sense of life and vitality; like pumping ventricles, the matrices of a pineapple seem to gape open and shut. A tomato resembles a microscopic cell, seemingly splitting and reproducing with astonishing speed, and a head of garlic seems to emerge, its cloves flawlessly woven together, from nothingness.

Ellison’s slow motion animation allows mesmerized viewers to be seduced by the rhythmic revelations, and the everyday is elevated to cosmic levels; an scanned eggplant seems to explode into a complex network of stars. These food products, these mundane miracles, get a moment to shine in the imaging machine’s dense whites and pure, weightless blacks. The uniqueness of each fruit takes center stage (can you find the bruised onion?), and together, they paint a rich portrait of the natural world. These elegant plant structures, viewed in this way, don’t seem so different from our very own organs. So the next time you stroll down the produce aisle, take a moment to consider the miraculous visions that lurk beneath the surface. (via Salon and Offbeat)

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Made With Color Presents: Kent Michael Smith’s Paintings Of Ambiguous Representation

Kent Michael Smith Painting

Kent Michael Smith Painting

Kent Michael Smith Painting

This week we’re bringing you another talented artist as part of our partnership with premiere website building platform Made With Color. Each week we bring you some of the most exciting artists and designers working today who are using Made With Color to create clean and sleek websites. Made With Color sites aren’t just easy on the eyes but feature powerful yet simple backend which allows anyone to create a professional site with just a few clicks.This week we are excited to share the layered and resin coated paintings of Kansas based painter Kent Michael Smith.

Composed of hovering masses of suspended geometric forms which produce both faux and literal shadows onto each other as well as onto the autonomous backgrounds; Kent Michael Smith’s paintings thrive within a realm of ambiguous representation. Likewise, the productions of the works are of equal conflict. On one hand they attempt to prescribe to a historical notion of painting that utilizes rendering properties of tinting and tone, while simultaneously producing a colored flatness of cut-paper collage…all floating on top of an often organic background.

Clearly, a conflict is at play.

The tonal nature of the conflict that is taking place within these paintings, is similar to the territorial passion that community members display when something moves into their neighborhood that is seemingly unsavory, or unwelcome. Whether the new entity produces an end result that is of catastrophic Armageddon-like consequences, or somehow complementary to the ubiquitous status quo; it makes no difference. While it isn’t difficult to imagine these progressively intruding forms as symbols of development and urban sprawl, Smith’s desire is for the implied conflict to be the first, and lasting, impression.

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