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Artorialust



While the majority of gallery goers attend openings under the pretense of pretending to look at the art, we all know what we go for.

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Dina Goldstein

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For women everywhere who grew up with Disney princesses, at one time or another have been disappointed to find out that “happily ever after” is a very rare occurrence, and even then life cannot be consistently easy or good without a few hardships. I feel that a small part of me is avenged through Dina Goldstein’s harshly realistic series “Fallen Princesses.” In this series, Disney’s version of princesses find themselves introduced to the real world, and battling a world their previous audience live in. Everything from a stressful married life, obesity, depression, illness, etc. Just like everyone else they must address their conflict, and confront whatever the outcome may be.

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The Art Of The Steal

This is a must see documentary for anyone interested in the art world. I walked out of the theater shaking my head in disbelief!

The Art of the Steal follows the struggle for control of Dr. Albert C. Barnes’ 25 billion dollar collection of modern and post-impressionist art collection of, a treasury of works by Renoir (181 of them), Cezanne (69), Van Gogh (7), Seurat (6), Picasso (46) and Matisse (59), to name just a few, all of it tucked away in the Philadelphia suburb of Lower Merion in a Paul Cret-designed villa Barnes built for it in 1924. The collection contains some of the key works of early Modernism, including Cezanne’s Nudes in a Landscape and The Card Players, Seurat’s Models and Matisse’s The Joy of Life, jewel in the crown of his fauve period.

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Andrew Davis’s Brutal Faces

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22 year old painter Andrew Davis makes violent paintings that remind me of a mix between Leon Golub and Francis Bacon.

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Benjamin Degen

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Expressive use of color, text, and perspective from NY artist Benjamin Degen. He also sports an extremely cool homepage on his website – simple but catchy and effective. Folksy yet refined, his work reminds me a little bit of Seurat. Find more at Guild & Greyshkul Gallery.

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Stefan Siverud Paints Snail Shells With Fun, Custom Designs So You Won’t Step On Them

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Stefan Siverud is a Swedish hobbyist who has been giving snails fun custom shell designs. Humorously titled Snailpimp, his project includes shell upgrades depicting everything from rainbows, to spikes, to popular logos; snails resembling sharks, Pac-Man, volcanoes, and McDonald’s advertisements populate his endearing and slimy collection. Since 2010, Siverud has been uploading photos of his beautified, living creations onto his blog, providing amusing backstories with each one. Some of his works even derive from social and political matters: the pirate snail, for example, is a marker for the Piratpartiet (Pirate Party of Sweden). This snail was painted the day after the party won a seat in the EU parliament.

The made-over snails in the photographs seem unperturbed, moving along in their indifferent way and attending to their usual business in the garden. However, some people may suggest that the colorful new hardware could endanger the snails; for example, it might make it difficult for them to maneuver if the shell has been physically modified (such as the one with the lighthouse fused to it), or it could mean they become more visible to predators. Siverud, however, has his best intentions for his mollusk companions. He uses non-toxic paints that will not harm the snails’ sensitive and porous bodies. In addition, the bright colors may also prevent people from stepping on them. In this way, Siverud’s project is one aimed at appreciating the lives and uniqueness of our tiny invertebrate friends.

What do you think of Siverud’s snails? Comment below, and be sure to check out more photographs of the Snailpimp project after the jump. (Via My Modern Met)

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The Skin She’s In – Jen Davis Takes A Candid Look At (Her Own) Obesity

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Jen Davis has been photographing herself continuously for over a decade. Her series of self-portraits have resulted in a book called ‘11 Years‘ and is a powerful exploration of identity, beauty and body image. Picking up the camera when she was an undergraduate in 2002, she put herself in front of the lens to kick start her creativity.

‘For a long time I was taking photographs and they were always to do with the body, or loneliness, or desire,’ she says. ‘But I was never really comfortable putting myself in front of the camera.’ (Source)

Her photos are at once deeply personal, but still widely universal. These themes she addresses are ones we all know: intimacy, love, insecurity. We see Davis in moments that are intensely private – sitting on her bed fresh from the shower, towel around her head, buttoning up her cardigan; lying in bed in the arms of a lover, looking forlorn and uneasy (Fantasy No 1, 2004). She captures such truthful, non-embellished moments – like the fight to button up clothes that are too small for us, that we can’t help but empathize with her struggle. Davis manages to dispel any ideas of being a victim of obesity. Davis goes on to say:

“In the work what I kept returning to is: What is love? Am I loveable? Can someone find me attractive?… At home with mundane surroundings, I treated the camera as if it were my lover—the camera desiring me, providing me the glimpse of what was missing in my life…..In a way what I was doing was seducing myself. I couldn’t necessarily identify with the idea of someone seeing me as ‘beautiful,’ but I could accept that the pictures that I created and inhabited were. It was a very contradictory experience.” (Source)

Ironically after losing 7 stone, Davis has felt less inclined to turn the camera on herself. To find out what she is photographing now, go here

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Interview: Charlie Roberts


Charlie Roberts recent exhibition at Richard Heller showcased a contemporary double-take on old European salon style exhibitions. His subject matter sifts through the sheer availability and prevalence of, signs, symbols and iconographies present in today’s visual landscape. Roberts notes, “the groups of things isolated on blank pages started as a sort of excercise or study to ween my hand and eyes off using photographs to paint figures from in my paintings, and over time they became a end in themselves, a way to make a painting with out.” Organized in loose, self-devised groupings, in a pseudo-scientific faux-taxonomical manner Linnaeus would be proud of, Roberts draws parallels between hundreds of gestures and ideas. The result are images that look like they could be pulled straight from vintage Audobon Society botanical illustrations. Yet with titles and conglomerations of groups such as “NYC Hip Hop,” “Gang Bangin’,” and themes such as obsessive object collecting and Scientology, Roberts depicts not the wildlife of geographic and biological discovery, but bravely explores our digital, information-soaked New World.

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