Eerie portraits by Chris Rush.
Eerie portraits by Chris Rush.
Alessandro di Prisco has created a number of beautiful design objects. His latest is Cubico, a multi-functional cube that can serve as a coffee table, magazine rack, stool or as just an objet d’art. Clever design is really all about marrying form and function in an intelligent and beautiful way.
Artists David Ellis and Blu blended two art forms that rarely meet: street art and animation. Throughout the video the mural takes over an entire building unfolding through a stop motion style. At times the art playfully utilizes aspects of the structure’s architecture – a style Blu has expertly developed in his work (for example, check out the first piece in this post.) The artists tirelessly paint and repaint images to further the animated sequence. Amazing images are quickly covered over to make way for the next image. The labor necessary was certainly staggering as is the self-control necessary to paint over pieces that were just complete.
The installations of London-based artist Zadok Ben-David‘s miniscule metal flowers are detailed, dense and mesmerizing. His travelling series of the work (called Blackfield) appeared in London, Portugal, Sydney, Singapore, Berlin, Linz, Untergroningen, Seoul, San Francisco and Los Angeles. Derived from illustrations appearing in 19th century Victorian encyclopedias, each iteration contains nearly 20,000 delicate 3-D floral etchings.
Each individual flower is crafted from metal and each side is hand-painted with either a stunning meltdown of color—or a heavy coat of black. Hovering between breathtaking and completely disturbing, the flat, sketch-like sculptures seem ominous as they stand in perfect rows, tucked into a massive bed of white sand.
“A meditation on green light – inspired by the dense horizon of lights found on the top of cityscapes. Specifically the red blinking lights for warning aircrafts which have always felt to me like some kind of living, breathing ecosystem. Continuing my fascination with geographies constructed or revealed by light during the night, I started thinking more about the “breathing” lights as rhythms.” – Gary Breslin
In the newly-published book titled Hollywood Frame by Frame, author Karina Longworth examines the contact sheet, a necessity in film making before the advent of digital technology. The prints were used by photographer as a way to review and edit their work, and the sheets contain small thumbnails of multiple shots. They were marked, scribbled on, carefully examined to find the perfect shot later used in advertising.
These sheets are alluring; not for how interesting and different each individual frame is, but it’s a tiny glimpse into what went on behind the scenes in famous films. You’re able to see what was and wasn’t chosen, as well as the outtakes. A description for Hollywood Frame by Frame describes it as, “…it’s often the photos not chosen that best capture the true spirit of their subjects and the life they lead after the director yells cut. This was never truer than in the classic Hollywood era, where behind-the-scenes photos were carefully vetted for marketing purposes and unapproved shots were never expected to be seen again.”
Some of the films included in the book are: Some Like It Hot, Breakfast at Tiffany’s, Taxi Driver, and Silence of the Lambs. It was published by Princeton Architectural Press.
Video artist Ben Bigelow is curating an event “Jupiter And Beyond The Infinite” video screening/gallery opening tonight at 7pm (with screenings at 9 and 11pm) @ Synchronicity Gallery in LA: Deep-space excursions that reveal the dark matter of pop culture, absurdist mythologies that transcend into tear jerking dramas…all can be found in “Jupiter And Beyond The Infinite.” This forthcoming show at Synchronicity Space opens on July 31st with a video screening including 19 unique artists. 2-D and 3-D artifacts from the videos will accompany the screening and be on display throughout August. Those looking to travel through a black hole and keep your boots on: look no further. Check out more of his work after the jump.
Photographer Donna J. Wan’s ongoing series “Death Wooed Us” is gorgeous, unsettling, and deeply empathetic. “In 2011 after the birth of my daughter I developed a severe case of postpartum depression and considered taking my own life,” she writes in the description of the work, all photos taken in “suicide destinations”—places where people have taken their lives.
“Using research gathered from media reports, I found several locations in the Bay Area and travelled to them. I walked along the paths taken by these people before they ended their lives. Most of these photographs were taken from bridges, including the Golden Gate Bridge, one of the most well-known ‘suicide destinations,’ but also lesser-known beaches and overlooks. I purposely photographed from the perspective of looking up at the sky, down at the water or crags, or straight ahead but far away, thinking that these views might have resembled the ones seen by others moments before dying. Many of my images have a hazy and elusive quality, which I believe reflects the clouded state of mind of the suicidal.”
Suicide is such a sensitive subject. There are many people—probably the majority of people—who cannot imagine losing the will to live. Whether because of religious beliefs, or ties to family and friends, or just the innate need to stay alive, these people believe that they would never end their own lives. Then there are others, who have lived with pain and grief and the loss of hope. Those who, because of sickness of body or brain, struggle through every day. Once you have crossed this line, between life at all costs and death as a merciful end, the world never looks the same to you again. In Wan’s series, her experience is what makes the photos haunting and peaceful. She has looked into the cracks of her own soul, and that has enabled her to walk in the footsteps of those without hope and capture their last sights with kindness. The last view of a suicidal person could be macabre, an intrusion into someone else’s pain. These photos offer beauty, the acknowledgement of despair, and the desire for peace.
“There are some who may think that my photographs romanticize these places of death. I can understand that point of view, although that is not my intention. Death is not beautiful – in fact, jumping from a bridge 200 feet high is a very painful and violent way to die. Yet the sublimity of these places continues to lure people to them. I do not intend for my work to glorify the allure of these places. Instead, I hope that it may offer a glimpse into the minds of those who may have thought that dying by these beautiful places was a peaceful way to end their suffering.”
(via feature shoot)