Artist Noah Deledda uses sandpaper to remove the paint from aluminum cans and then uses his hands to bend and shape pleasing patterns into them.

Via Oddity Central:

In an interview with WEDU Arts Plus, the artist said that the most common response to his art is people saying that they have never seen anything like it before. He considers it ironic, because of course they have; people see crushed aluminum cans all the time, just not this way. Deledda sees his art as proof that a generally destructive force such as crushing can actually be creative and presented as art.

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Hanging around #artstudio #sculpture ? @zkrstofr

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Dent...photograph...repeat. #stopmotion #sculpture #artbasel #yborcity

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Image: YouTube Read the rest

Future Punk says: "I created retro-style animated intros for today's modern Internet companies inspired by the great work of Sullivan & Marks, Robert Abel and Associates, Computer Image Corporation and various other early CG/Scanimate companies."

Here are demo reels of the production companies mentioned above by Future Punk:

Computer Image Corporation (1975):

Sullivan & Marks (1978):

Robert Abel and Associates (1984):

Scanimate:

[via] Read the rest

Stop-motion-animation wizard Ray Harryhausen (1920-2013) is widely regarded as the master of old-school special effects. Harryhausen called his method of animating small models of monsters and superimposing them into live action scenes “Dynamation,” and it was used to great effect in such movies as The 7th Voyage of Sinbad (1958) and Jason and the Argonauts (1963). Today’s crop of special effects animators are split on which of two famous Harryhausen scenes had a stronger effect on their decision to enter the field: the rousing and meticulously choreographed skeleton fight in Jason, in which a team of seven undead creatures spawned from a hydra’s teeth are acrobatically knocked, flipped, and stabbed out of commission by Jason and his cohorts, or the gray-skinned, 20-foot-tall Cyclops who gets seriously pissed off when Sinbad and his crew impale him with spears.

Here's a gallery of movie posters from Richard Holliss's new book, Harryhausen: The Movie Posters:

From the press release:

Harryhausen: The Movie Posters offers a celebration of his unique vision in a truly international collection from all of Ray Harryhausen’s extensive movie catalogue. Author Richard Holliss has worked closely with the Ray & Diana Harryhausen Foundation – a charitable foundation started by Ray in 1986 to protect his body of work – to collect together a lavish array of full-colour posters and promotional material from the Foundation’s own archive, as well as private collections from around the world.

Beautifully presented as a hardcover coffee table art book, Harryhausen: The Movie Posters features an introduction from director John Landis and offers a comprehensive guide to Ray Harryhausen’s legacy that will delight film buffs everywhere.

If you are in LA later this month through September, I recommend checking out "The New Romantics" group show at Corey Helford Gallery opening July 28. There's a great line up of artists.

Over a year in the making, Corey Helford Gallery is premiering "The New Romantics" group show on July 28, its largest exhibition of 2018 so far. Curated by Caro Buermann, the show will celebrate the new romantic visions of over 30 artists from around the world, including Camilla d'Errico, Adrian Cox, Relm, Pruch SintunavaI and Marie Larkin.

“There are many shows that celebrate beautiful imagery, but there aren’t many shows that tackle the implications of neo-romance and our growing attraction to the paradisiacal, the beautiful, and the magic that these images inspire," says Caro. "In today’s world, we are instantaneously exposed to a flood of bad news and images of terror which makes people long for safe places and redemptive perspectives.”

The Neo-Romanticism movement, which inspired The New Romantics, is not a new concept. Just as Early Romantic masters’ work was characterized by its emphasis on emotion and individualism, as well as glorification of all the past and nature, this new generation of romantics reflect on the current state of their world. “They are artists who are sensitive to the current state of things and reinterpret the world through their figures, characters, or landscapes,” says Caro. “Not necessarily as it objectively exists, but rather as they are seeing and feeling it.”

Above: Marie Larkin

Above: Relm

Above: Iva Troj

Above: Joanne Nam

OPENING RECEPTION July 28, 2018 | 7pm - 11pm

ON VIEW July 28 - September 1, 2018

COREY HELFORD GALLERY 571 S. Read the rest

The story is that Marcel Duchamp invented modern art in 1917 when he signed the name "R. Mutt" to a porcelain urinal and submitted it to the exhibition of the Society of Independent Artists at The Grand Central Palace in New York. The work, known as Fountain, was rejected and the original was lost, but today it is one of the most famous works of art in history.

But according to a new article in the magazine See All This, the work was actually created by a New York dada artist named Elsa von Freytag-Loringhoven, who was friends with Duchamp.

In 1982 a letter written by Duchamp came to light. Dated 11 April 1917, it was written just a few days after that fateful exhibit. It contains one sentence that should have sent shockwaves through the world of modern art: it reveals the true creator behind Fountain – but it was not Duchamp. Instead he wrote that a female friend using a male alias had sent it in for the New York exhibition.

To attribute Fountain to a woman and not a man has obvious, far-reaching consequences: the history of modern art has to be rewritten. Modern art did not start with a patriarch, but with a matriarch. What power structure in the world of modern art prohibits this truth to become more widely known and generally accepted? Ultimately this is one of the larger questions looming behind the authorship of Fountain. It sheds light on the place and role of the female artist in the world of modern art.

I enjoyed watching Steve Schoger make changes to a poorly designed website, explaining why he made the changes as he made them.

Before:

After:

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While it sure is a sight to behold, there’s much more to this magazine than meets the eye. I met Steve and Tanya, the duo at the top of the Singapore counterculture scene best known for curating Kult, the top local alternative art magazine and galley, and learned more about EYEYAH!

Their new initiative aims to leverage their global network of 1000 plus artists to produce engaging multimedia content, events, and social campaigns to “inspire children, changing perceptions and provoking new points of view”.

Their flagship creation, EYEYAH! Magazine, was launched this January. The first issue brings together interactive artwork, launches a social campaign for kids to contribute their own pieces, and comes with six visceral stickers. It kicks off with the below invitation where the authors rightly proclaim the magazine to be the “Hitch-Hikers Guide to the Wild Wild Web” and overall does a kickass job of teaching kids about the Internet.

Though they just launched the first issue in January, selected pages are already being distributed to local schools in a black and white zine format, spicing up education about the Internet in participating local schools. While the magazine and curriculum are currently only available in Singapore, there are plans for a global launch later this year (which I am helping their team with). For now, you can check out their website to learn more about the magazines, prints, and tees they have to offer.

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"I INHABIT IMAGES" is the Instagram bio chosen by David Henry Nobody Jr., the playful yet apt moniker of New York artist David Henry Brown Jr. Nobody's artwork often involves being totally engulfed by food, pigments, advertisement cutouts, or household items, sometimes to the point where he is only recognizable by a glaring eye or wide smile. While this project has been documented on Instagram and ongoing for three years, David Henry Nobody Jr. has always been fascinated with ideas of representation and identity.

In 1999 Nobody, disguised as a fan, made it his mission to follow and meet Donald Trump as many times as possible over the course of a year. He totaled six interactions but decided to stick with the theme of impersonation for a new project in 2000 where he adopted the identity of Alex von Fürstenberg, VIP son of the fashion designer Diane von Fürstenberg. During this time, "Alex" was documented at numerous celebrity parties among figures like Puff Daddy and Bill Clinton.

Nobody's current Resemblagè art, from the terms "resemble" and "collage", is a series of images and videos posted to Instagram that record performances of the artist covering and immersing his face in foods, paints, magazine cutouts, toys, and other objects. His inexhaustible creativity keeps the posts new and exciting by exploring new objects and textures, or ways to affix and camouflage himself with his art. These Resemblagès reflect the landscape of social media itself and toy with conceptions of self image, intimacy, and reality while also highlighting its far-reaching and immediate influence. Read the rest

I met science illustrator Paul Mirocha through a personal Discord server I set up and when Paul started posting his illustrations in the "Show your creations" channel, I was blown away. His style reminds me of the old Giant Golden science books, which I love. Paul's illustrations celebrate both the diversity and the surprising strangeness of nature. He lives in the Sonoran desert in Tucson, Arizona.

I asked him to tell me a bit about his work:

Some projects call for a high level of realism, like food, botanical art, animals, or a city skyline. Yet, despite how well-researched, super-real, or detailed an image is, it may still lack something in the viewer’s mind, something hard to define. Appeal? Sparkle? I call it romance. It’s what makes a viewer understand, want to know more, buy, or maybe begin to salivate. That’s my formula: accurate plus lyrical equals a motivating image. One more thing–my work is digital, using all the expanded possibilities contained in that medium, yet I want it to still look like a traditional painting. That’s what makes it emotional and engaging.

Don’t forget about scientific illustrators, a dying breed in this brave new digital world! Armed with only a Mac Mini, an extra large trackpad, a stylus, photoshop, and a passport, I travel, observe, sketch, and digitally paint. The natural world is crammed with surprises, and rather than merely create images, I try to show the spirit within, shining out.

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If you upload an image to this experimental Google website, it will return art with similar color combinations. Read the rest

I know very little about this webcomic, called "Синие Зубы городская легенда" (Google translation: "Blue Teeth Urban Legend"). The beautifully-rendered panels (many of which are animated) look like they were made on a circa-1985 Macintosh. The comic is quite NSFW, so be warned.

Update: artist is Uno Moralez. Here's a 2012 interview with him.

[via The World's Best Ever] Read the rest

Old-school pagers are still in use today -- even though they're wildly insecure. The messages aren't encrypted, so each pager receives every message in its region, and simply discards all the ones that aren't meant for it.

The artist Brannon Dorsey leveraged this insecurity to create "Holypager", an art installation that receives all the messages being sent in Chicago, anonymizes them, then displays them on three pagers in an art gallery -- while also printing them on a huge scroll of receipt paper.

While creating this artwork, Dorsey has discovered that a substantial percentage of pager messages today are medical, with doctors and hospitals trading info about patients. This, as Dorsey notes, makes it all the more bonkers that such sensitive material is being transmitted in the open:

Given the severity of the HIPPA Privacy Act, one would assume that appropriate measures would be taken to prevent this information from being publicly accessible to the general public. This project serves as a reminder that as the complexity and proliferation of digital systems increase the cultural and technological literacy needed to understand the safe and appropriate use of these systems often do not.

A video about the project shows what it looks like in action:

Image used with permission of Brannon Dorsey

(Via Hackaday) Read the rest

Viktor Kalvachev is one of the most exciting figures in comics today. I love his art, which reminds me of the great paperback book illustrators of the 1960s. He's the creator of Blue Estate, a hardboiled crime series that takes place in modern day Los Angeles. It’s got a sleazy action hero actor with a passing resemblance to Steven Seagal, the Russian Mafia, the Italian Mafia, a geeky fanboy private eye in his 40s, a B-movie actress, drugs, alcohol, strippers, hookers, and seedy establishments. It’s dirty and gritty and a lot of fun, in an LA Confidential way.

Viktor now has a Kickstarter for an art book called Inspire: The Art of Viktor Kalvachev, which I just learned about and backed immediately.

Here are some exclusive sample pages from the book:

Here's a recent interview with Viktor:

Viktor was born in Bulgaria and now lives in France. He is known for being a "visual storyteller", and his career has taken him across the globe. In this interview he talks with Bobby about his new exciting book "Inspire" which is up on Kickstarter, and his journey within the art world. Although Viktor isn't an artist full-time, he shares his decisions that have taken him along the career path that he has today, and some incredible advice on his process.

Support his Kickstarter here. Read the rest

Don’t miss painter Brandi Milne’s art exhibit which begins this month at the Corey Helford Gallery in Los Angeles. The opening reception will be held on August 19th from 7-11 pm.

Milne is a self-taught artist and was born in the late '70s in Anaheim, California. Growing up close to Disneyland had a large impact on her imagination. She was constantly surrounded by classic cartoons, crayons, coloring books, candy, and Disney, which all became influences on her paintings. Milne’s paintings portray a surreal, candy-filled world that reflects emotions such as love, heartbreak, and pain.

Milne has displayed her work all over the world and has been featured in Hi Fructose and Bizarre Magazine. Milne has also has two books of her work published. If you live in LA, don’t miss your chance to attend the exhibit and take a look into the unique, fantastical world that Milne has created.

Photo of Brandi Milne by Jessica Louise Read the rest

Rolly Crump: It's Kind of a Cute Story will be at the Oceanside Museum of Art, August 26, 2017–February 18, 2018. It's a must-see for fans of Disney art and design.

This exhibition invites the public to step into the whimsical mind of dreamer and designer Rolly Crump with the world premiere of a walk-through exhibition highlighting his 65-year career as one of the most imaginative attraction creators in theme park history. As a nonconformist member of Walt Disney’s hand-picked Disneyland design team, Crump was the eccentric architect of endearing and enduring environmental art installations that have stood at the forefront of a vibrant pop-culture landscape for over half a century. Crump’s contributions to It’s a Small World, The Enchanted Tiki Room, The Haunted Mansion, and other Disneyland attractions were trendsetting at the time of their creation, and they remain entirely relevant today in a multibillion-dollar industry that has grown perpetually and exponentially from the creative seeds planted by Crump and his peers. From his days within Disney’s inner circle of pioneers, and throughout all of his personal and professional endeavors, Crump has been a good-natured contrarian—a visual provocateur who infused each of his projects with his own offbeat aesthetic. This will be a journey through a world of spinning propellers, marching toys, living clocks, and talking tikis. Museum-goers of all ages will encounter magic, humor, and inspiration at every turn. Crump is a master of the fine art of fun. This exhibition is supported by Mary Scherr and Marvin Sippel

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Open until August 18, 2017 at the Joshua Liner Gallery in NYC is Summer Breaks, a group show exploring conventions in Western Art History. The seventeen artists, including David Henry Nobody Jr., Wayne White, and John Gordon Gauld, are limited to working within three of Western Art’s staples - portraiture, landscape, and still-life.

Despite being confined to these historical genres, the artists produce works that are seemingly void of convention. There is a thorough review on Juxtapoz that notes:

While we know history repeats itself, painting will continue to shift and change and build upon the traditional motifs of the past. Summer Breaks is a vessel for this transition and through multiple perspectives comes an exhibition that nods to the past while simultaneously showcasing some of the best and brightest of the future.

Images from Joshua Liner Gallery

Top image: Aaron Johnson, Swampy. Acrylic on paper. 2017. 14 x 11 inches Read the rest

Artist Annie Owens’ exhibition titled “A Place Worth Knowing” will be on display at La Luz De Jesus gallery in LA from August 4th-28th. If you can’t make it to the gallery, you should definitely check out her work on her website here.

Annie’s watercolor paintings are delicately haunting. They simultaneously look like antique photographs and scenes out of an eerie fantasy world. Her work features desolate landscapes and floating houses. The women in her paintings are isolated, ghostlike, and almost appear to be translucent. Here is an excerpt from Annie’s artist’s statement about “A Place Worth Knowing”:

As one of my favorite authors Algernon Blackwood put it, “No place worth knowing yields itself at sight, and those the least inviting on first view may leave the most haunting pictures upon the walls of memory.”...Taking my queues from Blackwood’s quote, “A Place Worth Knowing” allegorically speaks to our habit as humans of turning away from the seemingly unknowable in ourselves and in others. Preferring to view the strange and unusual from a safe distance in much the same way mysterious and unexplored mountain ranges appear daunting and unreachable – opting to observe rather than to interact.