For a few years, MovieBarcode has been compressing each frame of entire films into pixel-wide, chronological bars, creating a unique color palette barcode for each movie. Color is used in film to set moods, evoke particular feelings, or to intensify plot and characters. While examining the barcodes of familiar movies, particular colors may stand out, or remind you of specific scenes or characters that you’re drawn to. MovieBarcodes allow a film lover an opportunity to view movies from a macro, bird’s eye view. It’s as close as you can get to seeing the entirety of a movie all in one glance. The person behind MovieBarcode wishes to remain anonymous, but told wired.co.uk that movies are chosen based on runtime and the quality of the outcome and that the biggest challenge is “[s]taying within the concept and not getting carried away by technical possibilities, some of which are planned to be published in a not too distant, not too busy future.” If you’re curious if a particular film has been compressed, or you just want to peruse titles, you can find an index of all the films that have been compressed here. If you like these, be sure to check out Redbubble, where some of the MovieBarcode prints are available for purchase.
Angela Strassheim is photographer who used to capture crime scene images for forensic study. Her series, “Evidence,” documents the inside and outside of homes where domestic homicides have occurred. While the homes’ outside images ring familiar in a non-intimate way, the black and white, long exposure images of the homes’ insides offer a haunting glimpse into a more intimate space. The most unsettling aspect of these images are the noticeable physical traces of disputes – the bright, white flecks and splatters observed in the photos are the result of “Blue Star” solution being applied to surfaces to activate the “physical memory of blood through contacting the remaining DNA proteins.”
Of her series, Strassheim says, “Perhaps we have all processed a question in certain love relationships: Could we be a victim of violence or perform an act of violence against a loved one out of our immense capacity to feel jealousy, anger, rage, and desperation in a moment of extreme emotion? These photographs allow for the viewer to entertain the idea that this situation could involve anyone of us…The crime scene is presented on two levels; it is both an accurate, tragic, and dramatic transcription of the event and a mysterious backdrop onto which one can project their imagination.” (via it’s nice that and women in photography)
On May 29 at the Musée d’Orsay in Paris, Luxembourgian performance artist Deborah de Robertis, wearing a gold sequined dress, plopped down in front of Gustav Courbet’s painting “The Origin of the World,” and spread her legs and vaginal lips, publicly exposing herself. The artist’s intent was to re-enact the famous painting, but with an open, exposed vagina in contrast to the vagina presented in Courbet’s piece. Eventually, de Robertis was escorted from the premises by police officers, and two museum guards filed sexual exhibitionist complaints against her after the incident.
“This is a typical case of disrespecting the museum’s rules, whether for a performance or not,” the Musée d’Orsay’s administration said in a statement. “No request for authorization was filed with us. And even if it had been, it’s not certain we would have accepted it as that may have upset our visitors.”
de Robertis, of course, disagrees with these accusations (as does Banksy). “If you ignore the context, you could construe this performance as an act of exhibitionism, but what I did was not an impulsive act,” she explained to Luxemburger Wort. “There is a gap in art history, the absent point of view of the object of the gaze. In his realist painting, the painter shows the open legs, but the vagina remains closed. He does not reveal the hole, that is to say, the eye. I am not showing my vagina, but I am revealing what we do not see in the painting, the eye of the vagina, the black hole, this concealed eye, this chasm, which, beyond the flesh, refers to infinity, to the origin of the origin.”
de Robertis says she’s performed this piece, “Mirror of Origin,” more than once in the same museum without causing a hysteric scene, and unsurprisingly, this is not the first time a performance artist has imitated a famous work of art by exposing their body: last year, performance artist Arthur G stripped down and appeared in front of Musée d’Orsay’s parade of male nudes, “Masculin/Masculin.” It is also not unusual for female performance artists to use their bodies as a medium for messages about our culture and the way it conceptualizes female anatomy and sexuality: I’m thinking of recent Beautiful/Decay features, like Milo Moire’s vaginal egg-dropping and Casey Jenkins’ vaginal knitting. The reactions garnered from such performances reflect our culture’s current conception of female anatomy and sexuality and prove that our stripped-bare biology continues to be seen as obscene, threatening, and attention-seeking, even within performance-based contexts. (via art fido)
There is little to be found on mixed media artist Kuinexs, who claims this name as an identity and artform. For his “Photodissolutions,” the artist applies paints solvents to photographs, creating a chemical reaction that smears and blurs the colors in the photograph. The effect is at once haunting and a bit disturbing. Some of the elements of the original photograph peek through or remain untouched backgrounds to the dissolutions, presenting a jarring juxtaposition of realism and surrealism. The subjects in Kuinexs’ images are often obscured, and only the curves of faces and bodies and flesh-tone colors exist as evidence of a subject’s presence. (via juxtapoz)
Merging sound and landscape, Ukrainian architect and designer Anna Marinenko has created a series of images – called “Nature Sound Form Wave” – that presents juxtapositions of sound waves alongside panoramas of sky, water, mountain, and tree lines. Marinenko’s pairings demonstrate the synchronicity and parallels to be found in different patterns among natural and manufactured designs, the similarity between the forms remarkably uncanny. Because Marinenko meticulously lines up the designs and maintains the same color palette throughout the images, ocean waves, flight paths, and landscapes appear to be transforming into the sound waves, the transition nearly seamless. (via design boom)
Interdisciplinary artist and illustrator Lilli Carré‘s “Moving Drawings” are simple and abstract and capture, in looped form, the surreal whimsicality to be found in her comic illustrations and animations. Based in Chicago, Carré has created several comic books and is a co-founder – along with her animator husband, Alexander Stewart – of the Eyeworks Festival of Experimental Animation. Carré’s animations are playful, evocative of childhood, and deal with themes of mundanity and transformation. Aware of the way animated gifs command attention and provoke feelings of delight and curiosity, of her gifs, Carré says, “They help me get little images in my head — like a woman incessantly eating flowers — out of my mind and into moving forms. They don’t have to be part of bigger projects; they can just exist on their own and live forever on the Internet. They’re like little breaths of fresh air.” You can find a collection of Carré’s animated films over on Vimeo. (via juxtapoz)
I first encountered Russian artist Svetlana Petrova’s renderings of classic paintings, modified to include her very large, fat cat, a couple of years ago. I was pleasantly surprised to find the artist is still re-creating paintings, and that her work has recently become a part of a gallery show in Abingdon, England.
Petrova’s mother died in 2008, leaving her cat, Zarathustra, behind. She claims her mother spoiled the cat, contributing to Zarathustra’s large stature. Petrova was very depressed after her mother’s death and wasn’t able to make art until a friend suggested she create an art project using the cat, and thus, Fat Cat Art was born.
Petrova says, “I’m a professional artist, and I was fond of Internet memes, and I thought maybe I can make an Internet meme who would at the same time [be] a work of art. And I did this.” But her confidence in her work was at first met with some hesitation. “I thought that I could hold an exhibition, but gallery owners said: ‘This is not art, this is just cats.’ I asked: ‘Why is a shark in the formaldehyde art, but and a cat in a classic painting is not art?’ Nobody could give me an answer, and these people began to avoid me saying that I am mad.” Eventually, though, her cat art won the hearts of the gallery in the UK.
Petrova has been most recently inserting her cat into movies, and she welcomes suggestions for fat cat placements via her Twitter, or the project’s website, whose disclaimer reads: “We are real. All the artworks at this site are real. Nobody’s opinion about Us, Our art or this site will ever disturb Our suprematism.” (via archie mcphee and huffington post)
Glass artist Mike Gong crafts incredibly detailed, psychedelic marbles ranging from 13 to 63 mm in diameter. Each marble is uniquely designed with remarkable attention to detail. Gong creates small galaxies of color and depth, bringing a sharp eye and highly attuned craftsmanship to the medium of glass. Some of his designs even have silly faces, and even the ones that don’t all reflect Gong’s trippy aesthetic (some of his designs are named Acid Eaters). While you can get an idea of the intricacies of Gong’s marbles with a two dimensional photograph, his designs really come to life when they are allowed to spin and turn at the touch of a human hand. Not Just Marbles has a selection of Gong’s marbles available for purchase, ranging from $275 to 1,100. Brian Bowden at Pbase also has a substantial image archive of Gong’s marbles, some available for purchase. (via my modern met)