Scott Listfield simultaneously lives in the future, the past and the now with his futuristic/retro astronaut paintings that seem to comment on the state of America. (That was deep, eh?) He also has a small plastic dinosaur friend, Dinosaur, who has traveled all over the world. The captions on these pictures are quite clever.
Dogs of all shapes and sizes have hearts of gold, and yet it’s said that black dogs are routinely ignored and denied adoption based on the color of their silky fur. The photographer Fred Levy hopes to shatter negative stereotypes about the dark hued animals, perpetuated throughout our culture perhaps by the ominous depictions of the creatures in media, with the Black Dog Project. Capturing furry friends ranging in age and experience, the artist pins his regal subjects against a black backdrop, narrating a poignant story of canine love and courage.
Set against the soft darkness behind them, the animals appear lonesome and curious. Presumably told to sit for the shot, they cock their heads, let drop their downy ears, and look to the viewer for approval. The moving, miraculous tension in the animals’ bodies recalls the ever-willing canine anticipation the blessed “come,” a nod of recognition, an offer of affection, a release from being alone.
Levy’s stunning lighting records the nuances of the black fur, celebrating the shade that is so often overlooked; the silky stands catch the light in such a way that haloes their faces, gives heavenly, royal meaning to their curved backs and furrowed brows. Levy maintains each subject’s rich personality; the wizened senior Faith perks up her ears, and the therapy dog Max patiently holds our gaze with intent amber eyes.
Says Levy of the project, “I’ve found that it’s really important to share the idea that there are always so many dogs in need of a good safe home, regardless of what the dog looks like […] Maybe someone will see this and consider the gravity of owning a pet, no matter what color it is.” To learn more about the Black Dogs Project, check here, and take a look at some of the enchanting photos below. (via Huffington Post and Design Taxi)
This short video by French artist Marc-Antoine Lucatelli features dancer Lucas Boirat as he uses his body to manipulate an image of shape-shifting geometric light that is sourced from his hands. The energy behind Boirat’s dancing paired with the abstract energy of light gives this video and these gifs the effect of a push and pull between Boirat and the light. Boirat seems to dance to effect the balance of power between light and shadow, with the light ultimately returning to dust at the hands of Boirat. These modern martial arts inspired dance moves paired with the dreamy experimental music of EdIT create an experience that feels at once primal and futuristic. I find myself completely engrossed with Lucatelli’s video and the way he beautifully captures this stunning power struggle. (via my modern met)
Have you ever wished that your favorite brand of black pens came in different sizes? Or that paint wasn’t so expensive? Or that spray paint came in a wider variety of colors? Beautiful/Decay would like to share a survey that offers the creative community a chance to change the way art materials are packaged, sold and priced. And, there are perks for your time and wisdom! 500 artists will be randomly selected to receive a free sketchbook, and, ALL participants will receive an exclusive discount offer of 15% their next purchase from Jerry’s Artarama art supplies.
Please click on the below link to participate in a short survey:
Kumi Yamashita’s work is nothing without light and shadow. By subtly manipulating materials such as paper, fabric and wood, she uses strategic lighting to create shadow art installations. Yamashita focuses on the human figure and proves that an attention to detail make all the difference. She makes tiny cuts to paper and carefully drapes fabric. Coupled with a careful consideration of folding and lighting, these pieces are a feat of engineering. A minimal amount of material creates a narrative with a range of emotions. Yamashita writes about her work, stating:
I sculpt using light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).
Veil (directly above) is one of Yamashita’s newest works. This piece uses fabric, light and shadow to depict a female figure laying down. Looking at it, with the spotlight shines perfectly on a sheet of fabric. It feels like we’re looking at a ghost, but it isn’t unnerving or spooky. Instead, it feels sensual, like we are the voyeur to a private time; It’s a memory. Environment, in this case, is also important to the piece. Installed on a pedestal and devoid of adjacent works, it is isolated, making it feel even more like a moment in time.
Yamashita is an engineer, creating incredible forms that are realistically rendered. They aren’t blocky or awkwardly composed; her silhouettes are very fluid. At different vantage points, you wouldn’t think that a seated figure came from a sheet of paper. But once you do, it instantly elevates her shadows. The amount of craft put in each installation is inspired.
Michael Massaia is a photographer from New Jersey whose black-and-white imagery has an uncanny way of making the familiar seem unfamiliar: ordinary scenes are transformed into stunning portraits of isolation, desolation, and mystery. Two series are featured here: Afterlilfe and Sheep Meadow: Vertical Abstracts. The former documents vacant amusement piers along the New Jersey coastline, and the latter comprises vertical portraits of people sleeping in Central Park’s Sheep Meadow. While the subject matter is drastically different between the series — urban landscape photography and portraiture, respectively — both convey Massaia’s unique style: the haunting documentation of ordinary things that resonate with a deep sense of reflection and a yearning for connection.
Started in 2008, Afterlilfe features amusement piers in states of vacancy and ghost-like deterioration, photographed in the quiet hours between 4 and 6 o’clock in the morning. Most of the images were shot in FunTown and Casino Pier in Seaside Heights, New Jersey. In environments usually known for noise and elation, silence prevails; carousels lie dormant, and the architectural bones of roller coasters and ferris wheels loom against cloudy, darkened skies. Many of these structures were destroyed by hurricane Sandy in 2012. Shooting before and after the catastrophic event, Massaia’s unearthly photographs trouble us with their radiating atmospheres of stillness and absence.
Sheep Meadow: Vertical Abstracts is an extension of an earlier project titled Deep in a Dream. Massaia photographed people as they lay alone or in pairs on the grass. None of the subjects knew that they were being documented, allowing for candidly peaceful, reflective, and intimate postures. Vertical Abstracts sees photos of sleeping couples turned vertically and flipped backwards, making it appear as if they were floating or dancing through an otherworldly void. Massaia describes how the final prints “are gold-toned silver gelatin prints . . . [and] the grass is severely ‘burnt in’ to isolate and give the look of suspension to the subject” (Source). The strong contrast between the bodies and the surrounding darkness illuminates moments of beautiful (and strangely anxious) connection between the reclining couples.
Visit Massaia’s website and Facebook page to follow his hauntingly beautiful work. More photos after the jump.
Artist Yoon Ji Seon crafts her collection of self-portraits by intricately stitching photographs with a sewing machine. It’s an ongoing series titled Rag Face, and her facial expressions change with every piece. While they appear to us as similar-looking individuals, Seon changes it up with different colors and hairstyles. Despite these idiosyncrasies, each portrait has the same features. Most notably, these are hanging threads that mimic hair or tattered rags. The multiple layers of colors and stitches give these works a painterly effect, as if they are gestural and loosely handled; Seon obscures her images by working with her materials in this way.
In 2015, the artist will have a show at the Yossi Milo Gallery in New York City. They describe the her underlying concepts:
By sewing the photograph, a second image is generated on the back that is both a reflection of the front and a completely new image. The two images, combined with the original photograph as a third representation, recall the Buddhist theory that an object exists in many forms and there is no true form. Yoon Ji Seon’s work addresses Buddhist ideology deeply rooted in contemporary Korean society and confronts issues such as plastic surgery and suppression of speech. (Via My Amp Goes to 11)