Designer Outmane Amahou‘s posters seem to need very few words accompanying them. This series is appropriately called Minimalist Art Movement Posters. Amahou glides through art history with a minimalist design style. Icons of art history’s various movements and schools stand elegantly alone at the center of each poster. Warhol’s soup can, Magrite’s pipe, Duchamp’s urinal all act as familiar symbols of their respective styles.
You’ve likely already noticed: this isn’t your typical font. Instead of using pixels or vectors, photographer Anastasia Mastrakouli uses her own body to create a steamy alphabet (pardon the pun). Mastrakoukli positions herself behind wet glass partly hidden as if in a shower. She emphasizes certain parts of her body, and in turn certain parts of letters, by placing herself closer to the glass. The result is an eye-catching font – one in which the medium may grab more attention the the message it spells. Check out her website to see the rest of the alphabet.
The project I’m Google from artist Dina Kelberman is strangely and hypnotically familiar. You’ve likely searched one topic on Wikipedia or Google that set off a long chain of searches each slightly related to the one preceding it. Hours later you’re nowhere near you began. In a way I’m Google is a visual representation of this in the form of a tumblog. Countless seemingly mundane photographs slowly transform in color, composition, content. However, slight changes over time build large ones; balloons slowly become crater lakes. It’s a familiar journey, and I’m Google is a fascinating visualization of it. [via]
Artist and designer Jay Shells is behind the twitter feed @TheRapQuotes. He dispenses daily notable rap quotes as tweets. He has since taken the idea to the street. Shells creates street signs of hip hop quotes that mention specific places, then posts the signs at their mentioned locations. Many of the lines are from iconic songs and legends of the genre – easily recalled. Adding the context of an actual location with the signs adds further depth the memorable tracks they reference.
The murals of graffiti artist Peeta definitely, and nearly literally, stand out. Peeta uses a a familiar style peculiar to street art murals and tags. However, using careful perspective and shading, he’s able to create the illusion of depth. His work seems to twist and wind just above the wall’s surface. While Peeta does also create sculptural versions of his street art inspired work, the images featured here are entirely two dimensional. [via]
A good deal of contemporary art blends characteristics from disparate practices: sculpture and painting, painting and photography, video and installation. However, the work of Alex Schweder is a rare mix. Much of his work is equal parts architecture and performance art. Schweder investigates the way people interact with living spaces, and the way these spaces interact with their occupants. The result is often a playfully surprising structure. Some structures balance or rock depending on the movement of the inhabitants. Other structures are photosensitive, their inhabitants leaving stronger impressions the longer they linger. Regardless of the ‘performance’, his work encourages approaching ideas of the home and its occupants as almost a living relationship.
Cristina De Middel brings a striking beauty to space travel in her series The Afronauts. Her series is based on the aspirations of Edward Makuka Nkoloso – a 1960’s Zambian school teacher who wanted to land his countrymen on the moon before the United States or the Soviet Union. Nkoloso was openly mocked, even by journalists. Through his story, the series’ pleasant imagery gives way to more serious underpinnings. De Middel says:
“The images are beautiful and the story is pleasant at a first level, but it is built on the fact that nobody believes that Africa will ever reach the moon. It hides a very subtle critique to our position towards the whole continent and our prejudices.”
The sculptures of Naoko Ito are elegant in their simplicity. Indeed, these pieces are entirely constructed of only two materials: a tree and jars. A limb of a tree is cut into several segments and each segment, in turn, is placed in a jar. Naoko carefully arranges the jarred pieces to reconstruct the shape of the limb. A subdued commentary on the relationship between humans and nature, the imagery is immediate all the same. Though the shape and size of the tree limb is intact, the jarred branches are nearly gloomy.