Flickr user Harvezt imagines what the reverse side of iconic album covers would look like in their illustrative series, The Dark Side of the Covers. Taking famous works by Nirvana, David Bowie, The Beatles and more, the artist not only fills in the other half of well-known characters, but creates entire worlds with a sinister-esque twist.
Harvezt’s additions to these albums make them more well-rounded and conceptually rich. Our new, second viewpoint enhances the story. On Dio’s cover for Dream Evil, we see the original image has a demon making the devil horn with his hands as he peers into a sleeping child’s bedroom. Harvezt’s reverse illustration reveals the the demon being cheered on by a crowd of supporters sporting their own horns.
With all of the thoughtful details that the artist put into these works, they pay homage to these influential covers. Today’s digital downloads don’t always place an emphasis on album artwork, and makes Harvezt’s series a tribute to a time when people purchased physical copies of their music. (Via Metal Injection)
A picture of a celebrity taped on a cracked wall. Otto Duecker not only depicts portraits, he also paints the surrounding that goes with it. Like all artists part of the hyperrealism movement (or photorealism) from far, the whole image can be misled for a photograph.
Otto Duecker depicts celebrities from the 20th century such as Mick Jagger, Basquiat,John Lennon, Marilyn Monroe and more surprisingly Yoda. The black and white photos are represented crumpled and torn. Hung by random pieces of tape on a contrasted colored wall, the faces appear naturally brightened and alive. The artist painstakingly reproduces the details of the faces’ features and the cracks which makes the nature of the piece even more confusing to determine.
Hyperrealism allows the artist to guide the viewer to a new intimate examination of the piece. How did the artist depict the whole thing? Did he tape a picture of the celebrity on the wall and reproduced exactly what he was seeing? Do this wall exist in reality? Through this process, the artist gets in the way and the dialogue is not between the painting and the viewer anymore, but between the artist and the viewer. We are seeing the subjects through the artist’s eye and that’s what make the experience unique. (via Faith is torment)
You Were in My Dream is a incredibly interactive installation where the viewer becomes part of the story. It takes a live video feed of your face, and incorporates it into the installation. Created in collaboration by Isobel Knowles and Van Sowerwine.
Let Underware wrap you up in type! This pan-European design collective creates sophisticated, versatile font collections and delivers them with a hints of tounge-in-cheek (check out their blackletter titled Fakir!) This group exceeds the definition of type-designers by pursuing new venues for educating others about the fabulous world of fonts; you can listen in to their typeradio broadcasts and catch up on the latest and greatest from Underware’s ongoing type workshops from around the globe.
I have to say, I was a bit skeptical over the whole Lady Gaga thing. But her new video is a spazzy and eccentric bizarre meta-pop ditty that mocks the very genre it has conquered……Completely over the top, replete with bear skin rug mantle cape dress, snake bejeweled lime green catsuit and platforms and more. If David Bowie’s Ziggy Stardust battled over clothing with Alice Cooper and Britney Spears, it might look something like this.
Gabrielle Bakker is hands-down one of the most skilled painters working today. Formally trained at Yale University, Bakker has the ability to not just reference the great masters of the 19th and 20th Centuries, but also reinterpret their visions through her own unique filter of execution — all while hiding subliminal messages and symbols into each and every painting she creates. You don’t have to look closely at Gabrielle’s paintings, but you’ll want to, since Gabrielle is herself a master of not only skill, but subtext.
While many mediums have a constant back and forth debate between an emphasis towards using traditional, conventional methors or more recently available techniques, printmaker Carolyn Frischling does not concern herself with the argument. The Pittsburgh-based artist investigates new techniques in both image creation and printing methods, while continuing to honor the constantly-evolving history of the medium. “I’m proud that printmaking comes out of a long line of democratic, inclusive ideals, that today is at the forefront of technology and creativity.” Like many makers of prints, Frischling uses several simultaneous techniques to achieve the airy and colorful visual textures in her work, differentiated only by the image creation beforehand using computer editing programs. When asked by Beautiful/Decay to explain the benefits of working digitally versus using traditional methods, Frischling first explains, “Digital art enables me to use the same thought processes of traditional printmaking without the toxicity of using traditional materials on a daily basis.”
These moody and ethereal digital works are printed with archival inks on paper, silk, glass and aluminum, heavy with an abstract beauty attached to their process. Frischling further explains her methodology, “Digital printmaking is incredibly nuanced. There is so much more I can do that I couldn’t do in traditional printmaking, although the only reason I understand digital as well as I do, is because the thought processes are the very same. Sometimes I do miss the physicality involved in other kinds of art-making, but my art isn’t about physicality, so I think in this instance,”The medium is the message.”
Ultimately, whether created by physical process or digital manipulation, the works speak for themselves with strong compositions, moody palates, delicate forms and attest to the time spent mastering any artistic discipline. When Frischling explains, “My instinct is always to create movement and energy through use of color and form”, it is a goal separate from process and more located in ambition.