Malformed Brain-Photography
Andy Deemer war im Hirnmuseum in Bangalore, Indien, und hat ein paar sehr nette Bilder mitgebracht (via BB). Und ein paar Tage vorher hatte Adam Voorhes ein paar Bilder einer Fotoserie über missgebildtete Gehirne gepostet, die er damals in der Uni Austin für Scientific American gemacht hatte. BRAINS!
Two years ago Scientific American magazine sent me to the University of Texas at Austin to borrow a human brain. They needed me to photograph a normal, adult, non-dissected brain that the university had obtained by trading a syphilitic lung with another institution. The specimen was waiting for me, but before I left they asked if I’d like to see their collection.
I walked into a storage closet filled with approximately one-hundred human brains, none of them normal, taken from patients at the Texas State Mental Hospital.
Malformed – A Collection of Human Brains from the Texas State Mental Hospital
Bananas… How to Serve Them!
Bananas… How to Serve Them Part 1, Part 2.
Bananas… How to Serve Them is a great 50+ page booklet of banana recipes published in 1940 by the Home Economics Department, NY NY. Everything is covered, from entrees to breads, to desserts, ice creams, shakes, sauces, salads, sandwiches and more! And if for some reason you’re not a banana flavor fan, but instead like cute illustrations, this heavily used/stained book o’mine is overflowing with fun images of bananas doing banana things in their natural banana habitat, like: juggling, smoking cigars, conversing with bacon, directing traffic, painting, sunbathing, pranking each other with buckets of glaze dumped on each other, etc!
Glowsticks in a Waterfall
Reddit Exposureporn: Glowsticks in a Waterfall, hier in HighRes. [update] Das Bild stammt aus der Fotoserie Neon Luminance.
Back To The Future 2 Concept-Arts
Concept-Artist Tim Flattery hat sich eine vernünftige Website angeschafft und im Portfolio findet man neben einem Entwurf zu Kanedas Bike auch frühe Entwürfe einiger Vehikel aus Back To The Future 2 – und das Jaws 19-Poster! (Danke Micha!)
Carmine Infantino R.I.P.
Carmine Infantino, Legende unter den Comic-Zeichnern, ist vergangene Woche im Alter von 87 Jahren gestorben. Die Karriere von Infantino begann im Golden Age, am bekanntesten war er allerdings für sein Redesign des Flashs (einer meiner Lieblingsfiguren im DC-Verse) und von Batman, die zu einem Superhelden-Revival führten und das Silver Age einläuteten und letztlich auch für den Launch des nicht unwichtigen Verlags Marvel Anfang der 60er führte. R.I.P.
It was Infantino whose redesign of The Flash in 1956 brought such a new, super-sleek line and a sense of science-fiction to the superhero. So much so that we still class this point as the start of the “Silver-Age” of comics, a move away from the tired and stuffy comics of the 40s, a shift towards the future.
And it was Infantino’s incredible design sense that came up with so many iconic and memorable images, especially on covers, where his skills seemed without match. He was responsible, either as artist or designer, for so many iconic covers, especially at DC in the late 60s when his role as DC Editorial Director included designing for the entire line.
But his design and artistic skills are only part of the legacy. Infantino’s time at DC was a time of great innovation, of introducing new artists (Neal Adams, Denny O’Neil), bringing Jack Kirby over from Marvel and giving him license to create his Fourth World saga, and of revitalising old characters.
His career at DC culminated as publisher from ’71 to ’76, after which Infantino returned to art, producing fondly remembered runs on Star Wars, Spiderwoman, and a second run on The Flash. He retired in the 90s.
Forbidden Planet: Carmine Infantino R.I.P. (1925 – 2013)
The Comics Journal: The Carmine Infantino Interview
Martyl Langsdorf, Designer of the Doomsday Clock, R.I.P.
Martyl Langsdorf, die die weltberühmte Apokalypsen-Uhr gestaltet und damit eine eigene Metapher geschaffen hat („5 vor 12“), verstarb vor zwei Wochen im Alter von stolzen 96 Jahren. Das Design entstand für die Juni 1947-Ausgabe des Bulletin of the Atomic Scientists, zwei Jahre nach den Atombombenexplosionen von Hiroshima und Nagasaki. Die Uhr wurde seitdem in „echt“ nachgebaut und die Zeiger wurden bislang 18 mal umgestellt, derzeit steht sie wieder auf „5 vor 12“.
Die Dame war die Ehefrau von Alexander Langsdorf Jr., Mitarbeiter des Manhattan Projects, der mit dem ersten Bit tatsächlich nutzbaren Plutoniums für die Einsatzfähigkeit der ersten Atombombe sorgte – und sich danach gegen den Einsatz der Bombe eingesetzt hatte.
Nachruf bei der Washington Post, der Design Observer hatte vor zwei Jahren anlässlich der „Zeitumstellung“ ein längeres Stück zur Uhr:
Martyl had set the minute hand at seven to midnight on that first cover “simply because it looked good.” Two years later, the Soviet Union tested their own nuclear device and the arms race was officially launched. “We do not advise Americans that doomsday is near and that they can expect atomic bombs to start landing on their heads a month or a year from now,” wrote the Bulletin’s editors. “But we think they have reason to be deeply alarmed and to be prepared for grave decisions.” To emphasize the seriousness of the moment, the Clock was moved forward to three minutes to midnight. The static graphic emblem was thus transformed into a sort of political performance art, and the clock has been moved 18 times since, each time signifying an intensification or moderation of nuclear tensions.
With each change, Martyl’s Clock became more deeply entrenched in the public imagination. The Doomsday Clock has been referenced in songs by Iron Maiden, The Who, and Bright Eyes. As a theme it dominates Alan Moore’s graphic novel Watchmen and Senator Tom Harkin’s treatise Five Minutes to Midnight. Over the years, the non-specific simplicity of the symbol was able to accommodate the new threats of climate change and bioterrorism.
Glitchy iPhone-Panoramas of New York
Großartiges Tumblr von Gustavo Luz Sousa, der mit der Panorama-App des iPhones verglitchte slitscan-like Bilder schießt. (via AnimalNY)
Glorp, the imaginary Bubblegum-Monsterfactory
Brad McGinty kennt Ihr, seine Gremlins- und Alien-Anatomie-Shirts gehen so alle halbe Jahre immer wieder durchs Netz und vor zwei Jahren hatte ich auch mal seine Nikolaus-Godzilla-Weihnachtskarten mit Fake-Story dazu. Jetzt hat er sich etwas ähnliches einfallen lassen und hat die fiktive Gorp-Kaugummi-Fabrik gekauft, angeblich ‘ne olle Marke für Monster-Blubblegum aus den 50ern mit irrer Story. Da verkauft er jetzt tolle Shirts und Prints und sowas. Sehr schick, alles, kommt sogar mit Fake-Vintage Commercial:
Youtube Direktglorp, via Paper Pusher
Originally created as a treatment for motion sickness in German fighter pilots, this medicinal wonder gum was brought “kicking and screaming” to US shores by brave American soldiers during a German U-boat attack in 1942. It was there, on a fiery bombed out German ship, hidden beneath a pile of Kohl Moder (fermented cabbage bread), that they found a cowardly German scientist by the name of Magnus Von Tiesenhausen, along with his two prized German Sheppards, Keinvetizienz, and Schreckschraubeflammenwerfer.
Hieronymus Boschs „Der Garten der Lüste“ als Skatedeck-Triptychon
Hieronymus Boschs „Der Garten der Lüste“ als Skatedeck-Triptychon in einer schicken Holz-Box. Ganz famose Idee, eigentlich, aber… ich hab’ schon wieder ‘was zu meckern:
„Der Garten der Lüste“ ist ohnehin bereits ein Triptychon, das zugeklappt die Erde am dritten Tag der Schöpfung aus dem Fantasy-Mythos der Christen abbildet. Wie kann man das Triptychon, wenn man schon drei Decks als Canvas zur Verfügung hat, nicht komplett abbilden? Also den Garten Eden, den eigentlichen „Garten der Lüste“ und die musikalische Hölle? Und auf die Holz-Box klebt man dann das Motiv vom zugeklappten Triptychon, das ja im Original (hier eine HighRes-Version des Gemäldes) ebenfalls eine Art Packaging darstellt.
Das wäre eigentlich die logischste Lösung für ein Bosch-Sk8-Triptychon und dann hätten die Hieronymus-Decks noch dazu ein tolles Konzept. So ist es leider nur ein altes Meisterwerk auf drei Skateboards. Aber ich hör ja schon auf, von mir aus: Hieronymus Bosch-Skateboards, awesome!
Bosch is certainly one of the most enigmatic artists of the history of art. His paintings use a symbolic language. His personal style is between gothic and Renaissance style. «In The Garden of Earthly Delights», his imagination is expressed in a very personal style where fantastic creatures composed of animals, humans, plants and mechanical elements operate in strange worlds, kind of amazing visions. In this painting, some of the most unusual patterns are drawn : characters, creatures, monsters…
This painting uses a strong symbolism related to alchemy and to metaphorical language, witchcraft, tarot of Marseilles cards and religious mythology. Bosch combines cultural references and imaginative delirium… This painting represents a crowd of men and women naked, who abandon themselves to all kinds of entertainment surrounded by big birds and giant fruits. There are a lot of Interpretations of this strange piece of art.
Limited edition SK8-BOX / 3 SKATEBOARDS
The board are silkscreened by hand in France, each one is numbered and part of a limited edition of 80
JÉRÔME BOSH FOR BOOM-ART / HOLENITE POOL The Garden of Earthly Delights (1480-1490). Triptych. (via AnimalNY)
Vorher auf Nerdcore:
Hieronymus Bosch reviews Slayers Reign in Blood.
Hieronymus Bosch Actionfiguren
Record-Cover made from Sugar
Für die limited Vinyl-Edition ihres Albums „The Ways We Seperate“ hat sich die Band Beacon ein Zucker-Skulptur-Packaging machen lassen, hier ein Video vom Produktions-Prozess:
Vimeo Direktsugar, via Swen
On the occasion of Beacon’s first LP The Ways We Separate, Brooklyn-based sculptor Fernando Mastrangelo has created a 13″x13″ cast sugar sculptural object that houses the vinyl and which simply reads in bold capital letters TWWS. The prototype was CNC milled in wood, which he then molded in silicone and finally cast in pure white sugar.
3D-Printed Kinect-Scan-Fitted Masks
Schöne Arbeit von Do The Mutation, die eine Software für individuelle Masken per Kinect-3D-Scan und 3D-Drucker entwickelt haben. Mit Collagene kann man Masken beziehungsweise dreidimensionale passgenau auf Gesichter malen.
Vimeo Direktmasks, via Designboom
This project explores the border territory between physical and virtual, connecting computer code’s abstractions with the intimate, visceral dimension of body alteration’s sense brought by the mask theme. The topographic anatomy of the face acts as input for a set of algorithms that under designer’s control generate the fibers that form the object, creating a material formation that after 3d printing perfectly fits its territory, people’s faces.
The set of objects produced represent a population of differentiated individuals, phenotypes sharing the same genotype. No matter how many masks might be produced, they all will share the same genetic code. The system is then flexible in offering possibilities of formal and diagramatic variation, in creating even highly different objects, customizable on different faces and as expression of different designers.
Für das Konzept gibt es übrigens auch eine ganz praktische, medizinische Anwendung – als Gesichtsprothese nämlich. In England haben sie grade in einem ganz ähnlichen Verfahren eine neue Gesichtshälfte produziert:
after years of having people stare and recoil at his disfigurement, surgeons have employed cutting edge three-dimensional printing technology to create a prosthetic face for Mr Moger, 60, in what is thought to be the first procedure of its kind in Britain.
By making scans of what was left of his skull and using computers to recreate what his face would look like, they were able to use a new type of printer that builds up layer upon layer of nylon plastic to produce the components they would need.
Abandoned McDonalds in Fukushima
Google hat gestern seine Streetview-Maps aus Fukushima online gestellt, was ich mir grade zum ersten mal richtig angesehen habe. Spooky. Chris hat mir grade das vorrottende McDonalds dort geschickt, nach dem Klick noch ein verwesender Sony-Laden: Namie, Fukushima Prefecture, Japan McDonalds (Danke Chris!)
Molly Crabapples Shell Game
Die gute Frau Molly Crabapple hatte sich vor fast genau einem Jahr eine Serie von Gemälden samt Ausstellung um Finanzkrise, Bankster und korrupte Exceltabellenpolitiker namens „Shell Game“ per Kickstarter finanzieren lassen. Die Arbeiten sind jetzt fertig, die Ausstellung wird ab Mitte April in New York gezeigt und Frau Crabapple hat einen großen Teil der Bilder online gestellt.
Shell Game is comprised of nine, 6′x4′ paintings and one 3’x3’ painting about the revolutions and crises of 2011 (six of which have already been sold to collectors) including the mortgage bubble, the Greek anti-austerity protests, and Occupy Wall Street, filtered them through the artist’s distinctive lens of surrealism, satire, and symbolic animals and, for eight of nine paintings, informed by travel to the settings, including Spain, Greece, and the United Kingdom, during which she interviewed activists for her reported illustrated journalism pieces and participated in demonstrations. For Tunisia, she interviewed members of Nawaat, the dissident blogger collective, via Skype. Nine preliminary watercolors, all sold, will also be exhibited. Molly Crabapple will host a public opening reception on Sunday, April 14, from 7-10pm.
“It was the year when everyone sat down in the main squares of their cities and said the old machine is broken,” observes Crabapple. “2011 freed me to do the best work of my career, and it was amazing to see my protest art wheat-pasted on walls and carried by activists around the world.”
Iron Maiden Comic-Cover
Ich hatte keine Ahnung, dass Maiden für ein paar Singles ihres letzten Albums Comic-Cover im Stil der 50er EC-Comics zeichnen ließen. Sehr schön, nach dem Klick noch ein weiteres Cover in HighRes! Die Teile kommen von Anthony Dry, jede Menge der Klassiker findet man auf der Website von Illustrator Derek Riggs.
