Jasper De Beijer hat eine tolle Ausstellung mit Fotografien seiner Skulpturen am Start, die von den mexikanischen Drogenkriegen und Crime-Ästhetik mit mexikanischen Mythen in knalligen Farben kombiniert. Die Artworks gibt’s auf seiner Seite, Snip von der Asya Geisberg Gallery (via Cool Hunting):
With Marabunta, De Beijer takes the paraphernalia of the Mexican drug war as his inspiration, particularly the mystical and visually obsessive interest in celebrating the flamboyant lives of its leaders and colorful deaths of its victims. De Beijer carves a world in Marabunta that is alarming, chaotic, and reverential – an unnerving amalgam of the omnipresent iconographies of death.
Dominating our news, the cartel wars in Mexico have resulted in increasingly more outrageous acts of murder and mayhem. Bodies are beheaded, covered in warnings and signs, left in broad daylight and in city centers. A pre-existing culture of skeletons and ghosts, festive and even fanciful, coincides with the idolization of these killers and criminals, resulting in gigantic extravagant mausoleums resembling churches, and a general conflation of the gaudy shrines with those of beatific martyrs and saints. De Beijer exploits these glorified graveyards and bloody scenes of murder in his hyper-detailed, entirely fantastical staged scenes. With frenetic color and texture, a frisson of the real and media-influenced, and constant hints at the fabricated nature of De Beijer’s images, the photographer never quite allows a specific point in the continuum between the real and the imagined for the viewer to land. In De Beijer’s afterworld, the characters are eerie facsimiles of living ghosts, one foot made of plastic, and a face of duct-taped tattooed texts.
The resulting strange purgatory is then multiplied: as the outsider, De Beijer forms his own mythology, interweaving distorted and refracted visions gleaned from reality. In his version of the afterlife, the dead refuse to die, and the horror of their living days shines brightly and yet ominously, refusing to be put out.
Vimeo Direktwar, via Gizmodo
Tolle Arbeit von Julian Koschwitz, dessen automatisierte Schreibmaschine unendliche Geschichten auf Endlospapier über alle seit 1992 getöteten Journalisten schreibt und anhand von Datensätzen Infografiken und Flaggen einbaut.
The typewriter installation «On Journalism #2 Typewriter» writes generatively constructed stories about all journalist who have been killed worldwide between 1992 and today based on the existing data of their lives as well as their published work. The individual stories are connected through common fields of coverage, places, professions and many other aspects. Besides the text the typewriter creates also images e.g. flags which are heavier distorted the more journalists got killed in that particular country.
The story is written endlessly on one endless piece of paper.
Individual stories are being composed generatively. Always based on the data-set and combined with web searches. The flags are being distorted in relation to the amount of journalists who got killed in this country.
The software creates information graphics about the statistics in the data-set (e.g. how many have been killed in which country, which professions etc.) to connect them to the individual stories of the journalists. Screenshot and the typewriters execution.
Das Mädchen hinter dem Tumblr Totalitarian Vegetables ging als Hipster Ariel auf die Phoenix ComicCon, in einem Helvetica-ComicSans-Shirt, basierend auf einer Iteration der Hipster Ariel-Meme. Font-Meme-Geek-Cosplay inklusive subtilem Microsoft-Bashing, großartig!
For #phxcc [Phoenix ComicCon] this year, I decided to cosplay as Hipster Ariel, because I own this t-shirt and wanted to do something obscure.
When I got my photo taken with Wil Wheaton he realized the connection between my shirt and the Little Mermaid wig, made the best omfg! face, and said I was his “favorite font troll ever.” It was the highlight of my Comicon.
YT Direktsting, via Designboom
Rayfish Footwear bieten auf ihrer Website Schuhe aus dem Leder der Haut von angeblich genetisch modifizierten Stachelrochen an. DNA-Customized sozusagen, kostet auch nur 1500 Dollar. Sick.
at the rayfish footwear labs, they purportedly use the DNA which the have stored in their genetic library, to identify the genes responsible for color and pattern, implanting the synthetic ‘supergene’ cluster into fetal rays before they are born. as they grow and mature, they express the predetermined patterns on their skin. markings and coloration from dozens of varying species can be combined, resulting in an infinite variety of shoe designs.
using the brand’s online ‘grow sneaker tool’ you can select elements from dozens of animal patterns and remix them into something that nature itself could never have even imagined. working on the manufacturing principle of ‘one fish, one shoe’, rayfish footwear raises stingrays in their thai aquaculture facility where the family-run business creates these handcrafted shoes.
Jonathan Minard und James George arbeiten an einer Open Source Video-Editing-Software namens RGBDToolkit und mit diesem Tool verwirklichen sie grade die experimentelle Doku “Clouds” über Hacker , wozu sie grade obigen Clip online gestellt haben. Soweit ich das RGBDToolkit verstanden habe, mapt man damit den mit einer normalen DSLR gedrehten Videoclip auf die 3D-Daten des parallel aufzeichnenden Kinects. Snip von Creators Project:
“The goal behind the documentary is to capture the creative hacker ethos in a media that suits the subject,” explains George. “Clouds is a window into the mentality of the scene responsible for inventing the format that was used to create the film.” Which is probably why anyone who is familiar with the aesthetics of data visualization or has seen one of the countless Kinect hack demos from the past year will recognize influences of both in the film’s style. “The subjects float in a black void, their figures composed of tiny points connected by lines that flicker and break apart at the edges,” continues George. “They’re made out of pure computational matter—the same material the artists depicted work with on a daily basis.”
Though they used a stationary one camera set-up, the 3D Kinect data they capture allows them to render out the images any way they can dream up (and code up) and rephotograph their subjects from any angle in post production.
Marc hat mir grade das neueste Projekt von Zeixs geschickt: 52 Aces, ein Poker-Set, jede der 52 Karten wurde von einem anderen Illustrator gestaltet. Unter anderem von Molly Crabapple und Eduardo Recife.
52Aces is a deck consisting of 52 extremely different cards. The basic idea was to have each of these cards individually designed by an international designer or illustrator in their distinct style. Then the unique ensemble, in which a variety of illustrations in many styles come together to form an interesting compendium, was to be presented in high-quality packaging and sold in a limited edition of 999 copies.
Jayse Hanse hat ein paar seiner Arbeiten für das GUI von The Avengers gepostet, dem wohl wichtigsten Film für das Superheldengenre since forever. Puny God.
Reprisal von Jon Caplin ist ein totschicker Pixelart-Remix von Populous, dem ersten Gott-Simulationsgame von Peter Molyneux. Das Game ist im Browser spielbar und kommt inklusive tollem Print, den man auf der Website ordern kann.
Created in homage to Populous, Reprisal lets you take control of a tribe, guiding them, building land and making them grow in number. Using special totem powers you can control nature itself unleashing its full fury on anyone that stands in your way. But be warned, other tribes may not take too kindly to your intentions and will put up a fight!
Reprisal’s universe currently spans over 30 island campaigns pitting you against 3 other tribes – each with their own aggression traits, 15 totem powers, 8 full length chip tunes by Eric Skiff and 4 terrain types.
Das Smithsonian Air and Space Museum hat die komplette Sammlung der Zeichnungen, die von 1962 bis Mitte der Siebziger während des Space Race von eingeladenen Künstlern angefertigt wurden, online gestellt: Eyewitness to Space. Vieles davon sind “nur” einfache Scribbles, manches davon abstrakte künstlerische Abstraktion und alles mindestens einen Blick wert. Hier ein paar meiner Favorites und ein Snip:
In March 1962, James Webb, Administrator of the National Aeronautics and Space Administration, suggested that artists be enlisted to document the historic effort to send the first human beings to the moon. John Walker, director of the National Gallery of Art, was among those who applauded the idea, urging that artists be encouraged “…not only to record the physical appearance of the strange new world which space technology is creating, but to edit, select and probe for the inner meaning and emotional impact of events which may change the destiny of our race.”
Working together, James Dean, a young artist employed by the NASA Public Affairs office, and Dr. H. Lester Cooke, curator of paintings at the National Gallery of Art, created a program that dispatched artists to NASA facilities with an invitation to paint whatever interested them. The result was an extraordinary collection of works of art proving, as one observer noted, “that America produced not only scientists and engineers capable of shaping the destiny of our age, but also artists worthy to keep them company.” Transferred to the National Air and Space Museum in 1975, the NASA art collection remains one of the most important elements of what has become perhaps the world’s finest collection of aerospace themed art.
Schönes Projekt von Josip Kelava, der ein Buch um William Cheseldons Anatomie-Illus aus dem 18. Jahrhundert mit moderner Typo remixt hat. Prints gibt’s auf seiner Website.
Anatomy Illustrated is a book designed to showcase the master illustrators of the 16-19th centuries. In particular, it focuses on the illustrator William Cheseldon who was an English surgeon and teacher of anatomy, and who was influential in establishing surgery as a scientific medical profession. His works, along with many other illustrators, have been redesigned to a modern style, incorporating typography as a sense of interaction with the illustrations.
Jo Hamilton knüpft Portraits und hat aus einem davon nen Stop Motion-Clip gemacht:
This is a stop motion video I made to document my process of crocheting one of my larger than life portraits in yarn from start to finish. In my work I use a traditional basic crochet technique taught to me at an early age by my Gran. I work one knot at a time, from the inside out, row by row. In making the crochet portraits I always begin in the middle with the eyes and work out from there until the piece is completed. I work directly from photographs, using no sketches, graphs or computer imaging. Each piece is handmade, labour-intensive, instinctively composed. Nothing is planned ahead; I make it up as I go along. I spend a lot of time simply looking, unraveling, and reworking until I get it right. To make this video I photographed the work after each new yarn colour or two was added, and edited the photos into a sequence. This 30 second sequence contains over 300 photos of the work in progress. The portrait is of my dear friend Arthur Cheesman, who is sadly no longer with us.
Vor rund einem Jahr hat Fotokünstler und Streetartist JR den TED Prize gewonnen und sein damals neues Projekt Inside Out vorgestellt. Jetzt zeigt er auf der TED Konferenz, was es gebracht hat, und das ist einiges. Leute haben sein Projekt als Protestplattform gegen ganz lokale Angelegenheiten auf der ganzen Welt genutzt, vom Kampf für die Rechte der amerikanischen Ureinwohner über den Protest gegen die Diktatur in Tunesien oder ein Statement gegen Homophobie in Russland. Ganz großes Projekt!
Street artist JR made a wish in 2011: Join me in a worldwide photo project to show the world its true face. Now, a year after his TED Prize wish, he shows how giant posters of human faces, pasted in public, are connecting communities, making change, and turning the world inside out. You can join in at insideoutproject.net
Pussy Riot sind ‘ne feministische Punk Band und Seitenarm der russischen Anarchie-Kunst-Gang Viona. Der der Damen wurden im März verhaftet, nachdem sie einen Anti-Putin-Song in einer Kirche aufführten und könnten für nen Song sieben Jahre im Knast landen. Hier die Petition dagegen von Amnesty International, hier der Protest Tumblr: We Are Pussy Riot. (via Osocio)
Three young women are being detained by Russian authorities for allegedly performing a protest song in a cathedral as part of a feminist punk group “Pussy Riot”.
Nadezhda Tolokonnikova, Maria Alekhina and Ekaterina Samutsevich were arrested in March 2012 and charged with “hooliganism”. If found guilty, they could be jailed for up to 7 years.
The three women deny any involvement in the protest although even if they took part, the severity of the response of the Russian authorities would not be a justifiable response to the peaceful – if, to many, offensive – expression of their political beliefs.
Vor ein paar Monaten hatte ich Brian Joseph Davis fantastisches Projekt The Composites gebloggt, in dem er Kriminelle aus der Literatur per Textzitat durch eine Phantomzeichnungs-Software der Polizei jagt. Jetzt hat er sich Norman Bates aus Psycho vorgenommen und ich liebe es, dass Mamas Liebling so überhaupt nicht wie Anthony Perkins aussieht. Außerdem hat er eine Kriminalstatistik seiner bislang durch die Software illustrierten Literaturfiguren aufgestellt. Ich liebe dieses Tumblelog.
Tom Sachs, dessen Arbeiten ich hier schon öfter gebloggt hatte, zeigt derzeit in der Armory in New York eine Mars Missions-Installation. Designboom hat ein paar schicke Bilder davon und ich liebe Leatherface on Mars:
SPACE PROGRAM: MARS is a demonstration of all that is necessary for survival, scientific exploration, and colonization in extraterrestrial environs: from food delivery systems and entertainment to agriculture and human waste disposal. Sachs and his studio team of thirteen will man the installation, regularly demonstrating the myriad procedures, rituals, and tasks of their mission. The team will also “lift off” to Mars several times throughout their residency at the Armory, with real-time demonstrations playing out various narratives from take-off to landing, including planetary excursions, their first walk on the surface of Mars, collecting scientific samples, and photographing the surrounding landscape.