Jeff

aquaticwonder: It’s Wednesday

Found by shelbywhite

Found by shelbywhite

via http://fanaticforeverything.tumblr.com/

Back for another year, Christmas Gifs is a festive showcase of animated Gifs created by an international group of illustrators, animators and directors

The Christmas Gif project is curated by artist, Ryan Todd who collaborated with digital design studio, Enjoythis to create the online platform to exhibit work from a diverse band of practitioners including Supermundane (Gif above).

The project debuted last year (see our post here) but is now back for another season.

"The aim of the project is twofold: to create a space for professional animators and directors to produce something personal, experimentation or just plain fun and for illustrators and artists who may not have created anything animated before to take their first step into the world of moving image," Todd says. "The humble gif offers the perfect format in which to create something special."

Work featured this year includes this golfing Santa by Animade

 

A rather lovely snowfall Gif from Thomas Danthony

 

Sinterklaas by Andrew Colin Beck

 

A bit of Macaulay from Matthew the Horse and Amy Mackay

 

 

Way Hoe by Cento Lodigiani

 

R is for Rudolph by Paul Rayment

 

The macabre Merry Saturnalia! by Stephen McNally

 

And two more poignant pieces – Man with Sparrows by Thoka Maer

 

And Happy Birthday by Ross Phillips

 

 

You can see all the submissions (and submit your own) here.

 

 

referencing the catastrophic aesthetic of ruins from a nuclear power plant, the former bus depot was transformed through a painting produced by 40 student and the help of a robot.

The post etienne bardelli unveils walking ghosts installation in france appeared first on designboom | architecture & design magazine.

Underground Beer Club is a project that links the best producers of craft beer Uruguay. To conquer a wider audience they launched a new pack with a...

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the paper electronics are built using a series of bespoke graphic templates and components such as radio antennas, speakers, switches and 9V battery connectors.

The post conductive electronic paper speakers by coralie gourguechon appeared first on designboom | architecture & design magazine.

MUEN KUEY (IT’S ALWAYS THE SAME)
exhibition view at Clearing, Brussels, June-July 2013

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trailer for MUEN KUEY (IT’S ALWAYS THE SAME)
presented at Clearing, Brussels, 2013

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MUEN KUEY (IT’S ALWAYS THE SAME)
exhibition view at Clearing, Brussels, June-July 2013

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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installation view at Fiac Art Fair, 2013
each painting : Untitled (body painting), 2013, acrylic on denim, inkjet print, canvas, stretcher bars and 100 dvd’s, 86 x 64 in / 218 x 162 cm
each pillow :  Untitled, 2013, denim, foam, 66 x 66 in / 167 x 167 cm
courtesy of the artist and C L E A R I N G, New York, Brussels

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Painting with History in a room filled with men with funny names, 2013

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from the performative installation 2011 (open studio), 2011

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2012-2555
music performed by: JAKI DOYKA, JASON BARTELL, DJ NIRE FEAT.KRIT, VARACHIT NITIBHON and SABA AHMED
contributions from GABRIEL SUGRUE, TANABOON YANTAPANIT, CHAVIT SERIWATHANOPHAS

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Untitled (History painting), 2013
denim, bleach, laser print, fire, stretcher bars
86 x 64 inches (218 x 162 cm)

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KORAKRIT ARUNANONDCHAI by #ffffff Walls
installation 2011, 2011

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all images: Untitled (History painting), 2013
denim, bleach, laser print, fire, stretcher bars
86 x 64 inches (218 x 162 cm)

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image © #ffffff Walls

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KORAKRIT ARUNANONDCHAI by #ffffff Walls

all images courtesy of the artist (unless otherwise stated)

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This piece of denim, don’t you think it looks kinda like our planet from outer space?” - KORAKRIT ARUNANONDCHAI (1986) was born and raised in Bangkok, Thailand. He is currently based in New York where he works quite often collaboratively. His work evades forms of production that could be ascribed to, or referred back to a single subject. But the essential quality underlying the artist’s work is difficult to pin down, vacillating between constructed and formless, authentic and absurd.

My practice is a way for me to understand the world in its complexity. At the present time, I exist in between two distinctive cultures: the one in my homeland, Thailand, and the one in the United States, where I currently live. Each comes with its own predicaments, and each influences my painting, installation and performance work.

For the past three years of my life I have been making large-scale installations that render different aspects of my life into relationship with one another. The first installation in the series, Diagram.Korakrit.2010 is an allegorical sculpture to my relationship with painting then. Open Studio 2011 is an attempt to re-draw a new narrative context for my artist persona. 2012-2555 is a funeral for my artist persona and an autobiographical film that connects my development as an artist to my grandparents lives in Thailand. The series continues.

I believe that the answer to many of the important questions surrounding my existence—such as my relationship to modernism, capitalism, audience and responsibility—can be found within the in-between space of my art practice. My work sets up two entities for me to make actions that highlight the membrane in between them—framing the context of the work as the synthesis of the two.

I have been doing two types of shows: the gallery installations and the pieces for institutions. All the content of the show has another life online. I am trying to make work for both audiences, the one in Thailand who won’t get to see the show and the one in New York that will get to see the show. But I want the work to be experienced differently.

If you go to the website it’s confusing to understand what the show really is. Online there is a flattening of information where everything is equal but, for example, when you go to the show, the whole show is filled with smoke and you can’t feel that. I consider the whole gallery as an installation.

There is this weird thing that me being Thai and living in America adds a culture value to my work almost immediately, and at the same time me, being in Thailand as an artist but being “approved” by the West, that gives validity to this action and this symbol. Even though I am trying to develop very democratic skills related to everyone, like the use of denim, bleach, fire…- KORAKRIT ARUNANONDCHAI in conversation with DAVID GARCIA CASADO

View more works via www.korakrit.com

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New York-based photographer Sean Lynch was in Nepal in September and captured these surreal, infrared photographs of Nepal. The photos were taken in the Annapurna Himalayan Range but their unique, reddish quality makes them look like something out of a Dr. Seuss book. I wouldn’t be surprised to see the Cat in the Hat fall out of the sky with a loud “Bump.” You can see the entire set over on his tumblr site dorialusium.

via http://fucktum.tumblr.com/post/57417054646

Celebrating the 20th anniversary of their snowboarding team and collections, Vans present a 20-minute short film entitled "20 Years: Off The Wall, On The Snow". The piece was filmed by respected filmmakers Mike Hatchett and Travis Robb of Standard Films and takes an insightful look back at the history of snowboarding, "paying homage to a pivotal period in defining a new generation of snowboarding culture as told by original Vans riders Shaun Palmer, Circe Wallace and Kurt Wastell." Appearances are also made by legendary skater John Cardiel and big wave surfer Nathan Fletcher. Watch the short above.

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Located in San Francisco, alongside the likes of Pinterest and AirBNB, the 70,000 square foot Dropbox office was designed by Boor Bridges Architecture alongside Geremia Interior Design. Referencing the fast-growing company's previous office, the new space features modular furnishings, all of which allow for constant changes and customisation, as well as comical graphics defining meeting rooms as the "romance chamber", "the break up room" and "arrears". An almost-continuous 1,600 foot window opens up the space, flooding it with natural daylight and keeping the space light and airy with stunning views of the city from all angles. "We wanted employees to feel at home in their new space," say Geremia Design. "Cozy lounges were an important part of the office's design."

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Even before 2013 has come to an end, Kenzo are thinking of the coming season and have previewed their Spring/Summer 2014 campaign. Shot by Pierpaolo Ferrari, the single photograph features models Paul Boche and Devon Aoki wearing some lightweight beach/surf inspired pieces with the vibrant patterning we've come to expect from the French luxury house. Their bold aesthetic is reinforced through the bold red background and highly-saturated large fish. Stay tuned for the full campaign in the coming weeks.

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In 1951, surrealist artist Salvador Dali teamed up with photographer Philippe Halsman to create In Voluptas Mors or Voluptuous Death. A black and white photograph, this image is simultaneously strange, complex, and alluring. It features a giant “skull,” a living picture that is made up of seven nude female models that took three hours to arrange and photograph. The final product has the artist standing next to the skull, looking like the ring leader of a circus. And, in many ways, he is.

Additional photos have recently surfaced that reveal some behind-the-scenes moments of In Voluptas Mors. Not only do we see the apparatuses needed to hold the models, but we see how the skull was constructed with bodies. From the looks of it, there was a process of getting one section of the skull situated and balanced. This would repeat until the structure was stable enough to be captured on film.

In Voluptas Mors was not the first time that Dali and Halsman collaborated, nor was it the last. They originally met in 1941 and worked together over the course of 30 years.  All of their efforts were eventually published in a 1954 compendium titled Dali’s Mustache, an homage to the artist’s facial hair. (Via Huffington Post and Film’s Not Dead)

 

The post Behind the Scenes Look At Salvador Dali’s Bizarre Photograph “Voluptuous Death’ (NSFW) appeared first on Beautiful/Decay Artist & Design.

En 1 minute sur internet, 204 millions d'e-mails sont envoyés, deux millions de recherches sont effectuées sur Google, 6 nouveaux articles sont publiés sur Wikipédia et 277 000 personnes se connectent sur Facebook.

As a part of the new Design Made in France Expo, ten young designers were tasked with resurrecting..(Read...)

Du beau boulot!

Auguste Rodin, considéré comme un des plus grands sculpteurs français de la seconde moitié du 19ème siècle, a loupé 3 fois le concours d'entrée à l'Ecole des beaux-arts. Il échoua 3 fois l'épreuve de la sculpture.

Lara’s practice stretches all the way across printmaking, woodcuts, video, stop-motion animation and writing, and with such a broad spectrum under her belt she has plenty to inform what has become a very refined aesthetic. With a range of colours that practically oozes her native California – tanned limbs, blue skies and sunshine yellow houses? Yes please! – and a first-rate grasp of composition, her work is suuuuuper nice.

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Exposition — Xpo Gallery — 14 décembre 2013 → 3 janvier 2014

Xpo gallery présente une nouvelle exposition des dessins de Vincent Broquaire à l’occasion du lancement du nouvel ouvrage de l’artiste  — Sequences.

Exposition — Galerie Thaddaeus Ropac Marais — 30 novembre 2013 → 11 janvier 2014

Huit dessins se déroulent tels des frises, formant une bande continue qui couvre presque entièrement les murs de la galerie. La pièce assombrie est plongée dans la lumière noire qui rend presque aveuglantes les parties du dessin restées blanches. Ces formats tout en longueur reposent sur des photographies historiques d’intérieurs berlinois des années 1910 et 1920.