Danish poster for HIROSHIMA, MON AMOUR (Alain Resnais, France, 1959)
Artist: Stilling
Poster source: MoviePosterDB
(via bbook)
Danish poster for HIROSHIMA, MON AMOUR (Alain Resnais, France, 1959)
Artist: Stilling
Poster source: MoviePosterDB
(via bbook)
A week ago. Me and Pete at the opening of Damon and Paul McCarthy’s “Rebel Dabble Babble” (the title is supposedly a dig at James Franco, who appears in one of the videos) at the Box gallery in L.A.
From the L.A. Times review:
“His newest work, “Rebel Dabble Babble,” takes his great subject — the emotional anguish of being stuck in a rut — to new heights, fleshing it out with psychological nuance and queasy empathy. Made in collaboration with his son Damon, the loaded show occupies every square inch of the large downtown gallery run by his daughter, Mara. The family values that unfold in “Rebel Dabble Babble” are worlds away from those trotted out by politicians who pretend that America was at its best in the 1950s — and that the clock can be turned back.”
All of the art I like right now seems to involve things exploding.
Joschi Herczeg and Daniele Kaehr - Explosions, 2010 - custom-built detonator connected to cameras and synchronized to photograph at the moment of explosion
This is the type of installation art I wished I was making in college.
White is the Color (2002)
Diana Thater
(via dezzoster)
I only wish these were metal, not paper. Still a lovely idea.
Got a Girl Crush On: Paige Smith and her Urban Geodes
Artist/Graphic Designer, Paige Smith has been a busy little bee installing these paper gems all around Los Angeles for her latest art project called ‘GEODE’.
The 3D paper sculptures are placed into existing spaces to mirror natural mineral formations. If you follow the link here, it’ll take you to a map the artist provides so that you can hunt down one of these urban treasures yourself.
(Source: hahamagartconnect)
Genis Carreras’ philosophy posters are genius.
This is my favorite, caption below:
“Relativisim.
Points of view have no absolute truth or validity, having only relative, subjective value according to differences in perception and consideration. Principles and ethics are regarded as applicable in only limited context.”
Via io9.com
‘Black Sun’ by Sue De Beer (2005)
De Beer’s videos have moved beyond her earlier work’s explicit invocation of adolescence, while retaining many of her characteristic visual modes and psychological types. Black Sun, her investigation of multivalent identity and of ephemeral moments of direct, unmigitated sensation, centres on aspects of feminine desire and display via the ‘spatial metaphors’ of Julia Kristiva evoked by the title. Wanting, one might argue, is ultimately determined by the idea of memory; the focus on the peak and the final moments crowd out memories of duration. The video traces the life or the memory of a single girl at three significant ages, marked by simple, numerical intertitles.
dwdesign/Kilian Eng:
Berndnaut Smilde’s fantastic installation piece Nimbus, October 2010.
Via Hyperallergic, originally posted on Project Probe.
Wow. I don’t know how people can even give “experimental” filmmakers like Harmonie Korine the time of day when artists like Guy Maddin exist. The fact they both won prizes at the Toronto International Film Festival is baffling.
Guy Maddin, My Winnipeg (film still)
“During 1926 cold winter, all the horses from the hippodrome fled away after the stables went on fire. Their only scape-way was the river. But they all froze before managing to reach the opposite side. Their sculptural heads with terror still in their eyes served as a leisure park that season. I wonder in which moment the following spring carried them out into the sea, without anyone noticing.”
DELFT SKULL ANGELS OF DARK & LIGHT
By Magnus Gjoen
London, United Kingdom
Original: $775
Fantastic. I’ve never seen these angles on this piece before + they’re even more amazing.
Anish Kapoor, Shooting Into the Corner (2009)
“…A catapult that shoots prefabricated projectiles against the wall of the exhibition hall at a speed of about 50 kilometers per hour. The work in progress continuously gains mass and expands into space so that the sculpture created by the artist with the help of a machine weighs about 20 tons by the end of the exhibition.”
(via dubeltak)
On left, a design from Julian Montague’s faux books project. On right, one of Berlin artist Daniela Comani’s re-imagined covers from the New Publications Series, which I saw last year at Art Basel Miami’s PULSE fair.
Although Montague’s project, entitled Volumes from an Imagined Intellectual History of Animals Architecture and Man, concerns the natural world versus Comani’s somewhat heavy-handed gender commentary, I really enjoy them both. In the past year I’ve accumulated so many amazing books covers at the Salvation Army in Las Vegas, NM + they just beg for attention/manipulation.