Painter of demons and all around good guy (and goofball) Skinner recently relaunched his website with literally hundreds of delicious and frighteningly good drawings, paintings, and illustrations. To celebrate the site launch Skinner also decided to make some hilarious videos talking smack, crossing out wack taggers, and telling ya’ll why he is the illest graffiti legend out there. Once you watch the full video after the jump you’ll be asking yourself “how come this guys not included in the Art In The Streets show at MOCA ?”
Hasn’t everyone wanted to be a superhero at one point or another? If you have, then be jealous of Sandra Chevrier’s skillful paintings of stunning women covered in superhero. These women she depicts may not be superheroes themselves, but they are covered in iconic imagery of our favorite heroic superhero characters. The French artist creates these incredibly realistic women with paint and vintage comic book pages collaged over sections of their bodies and faces. Some of the women sport clothing made out of these comic book scraps, others display superhero stories across their faces, covering their eyes or mouth. Familiar icons can be seen sprawling all over Chevrier’s work, with images of Superman, Wonder Woman, and Batman morphing into one mega narrative. The images seem to multiply, creating an almost overwhelming mash of pop-culture, swallowing up each woman’s body.
Chevrier often uses specific story lines and series associated with specific characters to convey a message of social perception. She explains that the imagery is a comment on the high expectations society gives us to surpass even that of a superhero. One comic series included is The Death of Superman, which reveals the weakness of the world’s ultimate hero. This revelation of failed expectations explores the imperfect nature all humans have. Even the artist’s immaculate and beautiful women are often missing facial features due to the comic book pages transforming their features. Although Chevrier’s women exhibit astonishing beauty, they communicate an important message of living up to your own expectations.
Jamie Vasta’s masterfully accomplished paintings may look like traditional chiaroscuro but they are in fact covered in shiny, shimmering glitter. Vasta has taken the painterly arts to new altitudes with her paintings in glitter. Her insouciant medium is fine-tuned to accentuate narrative.
Here series After Caravaggio, a contemporary reframing of Michelangelo Merisi da Caravaggio‘s historic paintings in homage to the great master on the 400th anniversary of his death, (1573 – 1610). Vasta gathers friends and colleagues as muse for her ambitious recasting of Caravaggio’s famous paintings. In rethinking such paintings as Giuditte e Oloferne, 1599, and Deposizione, 1602, Vasta composed her coterie with the props of today, turning gender, dress, and environment on end. The intention of the original comes forward, no heraldry of aristocracy, but an emancipation of the peasantry, under hot theater lights of course.
Seth Casteel has done it again. He has come up with a great sequel to his widely successfully photographic series of dogs underwater with crazy faces and curious poses (previously featured here on Beautiful/Decay). This time around we have an equally cute subject matter – babies. Full of lively little bodies twisting and turning in the bubbling water, Casteel captures the large personalities of the kids in his new book Underwater Babies. We see the full range of human emotion on their little faces – from surprise, to glee, to terror, to mischievousness, to serenity and everything in between. Beautifully lit and dramatically staged, the kids faces will capture your heart immediately.
As a huge fan of dogs, puppies, and all things canine, Casteel wanted to raise awareness of animal abuse with his first series. After his Underwater Dogs photographs went super viral all over the internet, and then went on to sell over half a million copies around the world, he realized the power of images and applied it to another worthy cause. He explains more:
Through advocating water safety for pets, I became aware that water safety for children was also a very serious issue. Drowning is the #1 cause of accidental death of children under the age of five in the United States. Infant swimming lessons can help to reduce the risk of drowning by up to 88%. By creating this book, I hope to encourage and inspire parent to consider swim lessons for their children, with the ultimate goal of preventing tragedies. (Source)
You can purchase his Underwater Babies book here through Amazon.
It may be more accurate to title the post Fine Art as Lawn Chairs. These sculptures from artist Patrick McDonough only resemble the outdoor furniture. They may contain familiar hardware and components such as a hinge or stray armrest. However, they are carefully constructed sculptures. As much as they resemble outdoor furniture, McDonough also seems to be referencing abstract painting. Chair frames mirror canvas frames, and the grid patterns that usually support our weight resemble Hard-edge Painting. The one thing both lawn chairs and fine art seem to hint at is the idea of leisure and a leisure class.
Photo retouching, specifically in magazines, permeates our culture and projects unhealthy and unattainable body image ideals. Writer and illustrator Jen Lewis has her own take on this controversial topic and sends Disney Princesses through the proverbial ringer by exposing what work they’ve had done. Like other individuals and news organizations before her, Lewis shares both the “unaltered image” and the drastically manipulated final in her series that’s touted as “Disney Princesses that Disney didn’t want you to see.“
This is series is all fictitious, of course (especially when you see Pocahontas’ transformation), but the satirized images are a witty way to get back at Disney for promoting princesses over real people and perpetuating gender stereotypes towards people at a very young and impressionable age. (Via Lost At E Minor and Buzzfeed)
Chicago-based SAIC faculty and grad, Amy Honchell works with textiles to craft whirling installations of otherworldly landscapes. Honchell bends cloth, which protects us and keeps us warm, through a warped process that challenges the medium’s association with benevolence. Hochell’s mountainous compositions remove memories of blanket-swathed crib slumber, and stitch the trappings of journey and struggle in their place.