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)
Though an artist who truly utilizes a wide-range of materials and media, perhaps Andrea Mastrovito‘s most eye-catching and memorable works are those he creates by collaging thousands of images from books which are installed to create swarming, jungle-like visual configurations. The images are sources from thousands of book, precisely cut-out and arranged, giving the whimsical and unusual feeling that the interior of a house could be covered by swarming bats, or butterflied would cover an entire gallery while sunning themselves.
Inspired partly by H. G. Wells’ famous science fiction novel The Island of Doctor Moreau, Mastrovito’s The Island of Dr. Mastrovito and The Island of Dr. Mastrovito II were installed at Governors Island in New York in 2010. Says the Bergamo, Italy-born artist about his work, “His starting points for this site-specific work are the two most common forms of home recreation—books and television. The title of his installation refers to H. G. Wells’ famous novel The Island of Doctor Moreau, in which the archetypal “mad” scientist experiments upon animals in order to give them human traits. In this “Island,” the artist substitutes himself for the doctor, trying to instill a new life into that which was once alive in a different way (books from paper, paper from wood, and wood from trees). Mastrovito imagines that the outside fauna take control of the abandoned house and become its proper inhabitants. Approximately 700 books were brought under the artist’s knife to cut out real-size images of animals. This trompe-l’oeil, or paper diorama, also suggests the strength of images, the infinite possibilities that knowledge—through books—can give us in order to create and re-create the world that we can only imagine.” (via colossal)
Join B/D and a bunch of other creative vendors this Saturday at Designer Con! Now in its fifth year, Designer Con is an annual art and design convention that smashes together collectible toys and designer apparel with urban, underground and pop art.
Swing by our booth, partake in the holy secret cult of decay handshake, buy a book or two and get some killer deals on new shirts!
Saturday, November 20th, 2010
10 am to 5 pm
Admission: $5 (free after 3 pm!)
Pasadena Convention Center
300 East Green Street
Pasadena, CA 91101
Illustrator/Photographer/Filmmaker Matt Mahurin has published illustrations in Time Magazine, Rolling Stone, The New York Time, and more. He’s compiled photo essays on the homeless, people infected with HIV/AIDS, the Texas prison system, and more. He’s directed music videos for artists like Tom Waits, R.E.M., Metallica, David Byrne, and MORE. That word- “more”, comes to mind a lot when going through Mahurin’s work. He just seems to be doing everything at once. And he does it so well. I’m always astounded when I come across a multidisciplinary artist making work in each of his or her chosen platforms that’s just as good, if not better than that of artists who choose to focus in only one area of practice. I mean it’s just not fair. Check out more of Mahurin’s widely varied projects after the jump.
The sculptor Livio Scapella‘s shrouded figures seem to be in eternal conflict with their materiality, trapped like lost souls within the confines of stone. In this strange work, titled “Ghosts Underground,” the artist uses the aesthetic dialogue normally associated with classical Renaissance masters, establishing the suggestion of movement within the frozen busts; necks contort, and mouths hang open as if to speak. Visual weight is distributed uncomfortably, and like Michelangelo’s Prisoners, Scapella’s figures yearn for escape, gasp for air.
Like a moving, writhing funeral shroud, the fabric is rendered with the utmost delicacy and softness, affording the busts a ghostly significance, as if they were invisible men and women defined only by the cloth in which they are contained. Like those caught frantically between life and death, the haunting figures seemingly do battle with the elements of the natural world and its order. As they strain against stone, they are powerfully anchored by spectacular quartz and amethyst held steadfastly to their chest. Like an external representation of the soul or spiritual self, the burdensome yet magnificent gemstones lie cradled within the airy fabric above the heart.
In a particularly powerful diptych, the “white soul” sits beside the “black soul;” where the white soul rests, embracing her permanent and immobile fate, the black soul strives against eternity, his mouth open in a frightful scream. The male, art historically associated with the intellectual and rational, is in turmoil; the female, on the other hand, becomes unified with nature and with the elements from which she is constructed. Within each of us lies this powerful duality: will we succumb to death or will we struggle to escape it? Take a look. (via Hi Fructose and Juxtapoz)
I love documentaries about things that I didn’t know I wanted to know about like the short mini documentary above. This is a short documentary about the very last glass eye maker in Berlin. Watch the full video after the jump.
Stacy Kranitz focuses on the multidimensional character of Leni Riefenstahl, whose focused vision and murky set of morals greatly inspired Kranitz. These grey areas spoke to her desire to understand people beyond the constraints of good vs. evil.
During Pennsylvania’s yearly reenactments of the Battle of the Bulge, Kranitz portrays Leni Riefenstahl and behaves with soldiers as she would. Kranitz examines how the photograph documents and shapes history, since much of our conception of history is based on images. The 500 reenactors base the authenticity of their looks on images and, in particular, on Riefenstahl’s film Triumph of the Will. Kranitz focuses on how these historical images have been filtered through both the media and propaganda, becoming history as generations pass and memories fade. Photographs and film become the dominant forces that shape the public imagination.