Jason Bard Yarmosky’sElder Kinder pays homage to the idea that age is not a deterrent to living fully, but rather a springboard for exploration. His paintings examine the relationship between the limitations of social norms and the freedom to explore, particularly the juxtaposition between the young and old. The carefree nature that is associated with youth often gives way to borders and boundaries placed on adult behavior. As we transition from adult to elderly, these raw freedoms often reemerge. As a child you learn to walk; later in life we learn to unwalk, literally and metaphorically. However, the dreams of the young, often sublimated by the years, never really disappear.
“I choose to explore this theme with two people very close to me, my eighty-four year old grandparents. The process of aging has always intrigued me. The lack of permanence in life and the inevitability of aging has always been on my mind growing up. I am also interested in how people, in both mind and body, respond to the passage of time. As Madeleine L’Engle said, “The great thing about getting older is that you don’t lose all the other ages you’ve been.”
The resulting paintings capture the intersection of the battered body and the vibrant soul. The images in this series can be seen as either humiliating or empowering. The pessimist sees the images through the lens of shame and vulnerability, weighed down by social convention. The optimist sees a sense of liberation, where an adolescent’s playfulness and the freedom to dream complement the wisdom of old age.”
Canadian artist Andre Ethier‘s oil paintings are rich with all the messiness of life. He seems to find and expose more beauty and meaning from the unsavory elements of life than the average person does from generic blue skies and roses. I remember catching some of his works in person a few years ago and each one just glowed with so much power — hobos and monsters leering and searching from behind syrupy glazes. And Ethier’s quasi still lifes, well, they’re practically wall-mounted explosives. See what I mean after the jump.
The embroidery artist Ana Teresa Barboza, previously featured here for her arresting renditions of the human body, is at it again with her series of intricate, deconstructed landscapes. Turning her gaze outwards towards the vastness of the natural world, she celebrates the materiality of her craft, allowing her thread to spill from the boundaries of the embroidery hoop like wild nets wrenched from a tumultuous sea. Here, calm seascapes, serene pastures, and chaotic, rocky waves adopt the same sense of inexhaustibility, refusing to commit solely to embroidery and extending into the realm of the sculptural.
In this series, titled “Suspension,” Barboza’s medium mirrors her content. Like the art and craft of embroidery itself, her visual narratives are composed of iconography historically associated with the female: nature’s rolling hills, curved waves, and fluid, moonlit water. As her pieces unravel, they express something powerful and inevitable in female desire and spirit. No longer contained by the neat frame of the traditional hoop, exuberant colors and textures spring forth from a two dimensional realm into three, interrupting the comfortable barriers that normally exist between art object and viewer. These labors of love are not meant for pillows; instead, they proudly hang on a gallery wall.
Each of Barboza’s suspensions evoke folktales like those of mermaids, selkies, or sirens, woman creatures of the sea who are as frightful as they are alluring. We are presented with delicate illusions, mirages of landscapes, only to witness their dissolution into thick, tactile thread that invites our incredulous touch. Take a look. (via Colossal)
Brendan Scott Carroll’s polaroids document the people and places in New Jersey . Each polaroid comes with an anecdote that is typewritten on the lower white margin of each Polaroid. The anecdotes are fictional or derived from personal memory, other people’s memories, and actual events.
James Charles, pop culture and dollar bills. A strange combination for an astonishing result. The artist transforms traditional portraits on bills into random movie characters, singers and artists. He only uses ink and paint to trace and re-write on the bills. The result is witty and fun to watch.
It all started out with random doodling on a couple of dollar bills. James Charles was not even aware of the treasure he was carrying in his pocket as he was spending the bills. He therefore decided to store them in a magazine, using it as a safe. The more he drew, the larger the magazine got. The mutant bills have their president’s faces changed into male and female pop culture inspired characters. James Charles added a script below the faces, naming or giving hints in case we miss them. Yoda, Einstein, Mister T, Willy Wonka, Princess Leia, Spock, Iggy Pop, Kiss and many others are altering the seriousness of the symbolic of money.
The artist drew on 5 dollar bills as well as on 100 dollar bills. The value of money is put aside here to focus on the true meaning of a paper bill components: paper and ink. So little and meaningless elements for such tremendous stakes. By associating easy recognizable pop features, James Charles is aiming to reach the mass. He has done it again more recently in Monstro Eyegasmica, a mix of popular iconographies such as The Kiss by Klimt or the use of sarcasm with some of the Disney characters. A series of paintings and collages blending pop culture and vibrant colored characters.
James Charles’ Monstro Eyegasmica series will be displayed at the Joseph Gross Gallery in New York until November 25th 2015.
Photographer Robert Landau captured stunning rock ‘n’ roll billboards in the late ’60s and ’70s. Primarily inspired by album art, the billboards were massive monuments that took on a life of their own. Reigning over the Sunset Strip, which was at the time the lifeblood of the music industry, the billboards became more than just advertisements. They were physical embodiments of a vibrant scene populated by colorful rock stars and tantalizing music idols.
In an interview with Collectors Weekly, Landau says, “There was a whole scene going on along the Strip, but it was really focused on rock ’n’ roll. The billboards captured all that energy, and also some of the excess of money and drugs.” The billboards themselves were anything but flat; at the time, they were hand painted using specific techniques to ensure they could be read from a distance.
Around the time billboards roamed the streets was also the height of some true album art artistry. “It was a joint process,” Landau says of the intersection of the two, “… in most cases, the musicians had already commissioned amazing artwork for their albums.” The tricky part was then translating the album art from a square sleeve to the more traditional rectangular frame of a billboard. The solution was to add an extra dimension to it, enabling figures and objects to burst out of the picture and become almost 3D in effect. Billboard artists got creative, lighting up 3D lampshades and creating silhouettes that seemed to loom like titans.
“It wasn’t about getting somebody to a cash register to buy something,” Landau says, commenting on the uniqueness of these everyday artworks. “It was about creating an image, and about a trust between the artist and the record companies.”
Even as people bemoan the death of the album, at least there are photos like Landau’s that remind us of a time when music was larger than life.
One year in the making, Loom is an epic story of a moth caught in a spiders web. You probably can guess the outcome but rest assured that you’ve never seen nature take its course in such an intense and vivid way. Watch the full video after the jump.
We still have a month left of summer, but autumn will be here before we know it. And that means leaves. Everywhere. Here’s a cool little typography project to help ease the transition from season to season. Twan van Keulen is a graphic designer from the Netherlands. In a series called Falling Leaves, Van Keulen cut letters and symbols out of leaves and scanned the results, effectively creating a unique (well, it is kinda based off Helvetica) set of typography. (via)