Don't call me, I'm too expensive
AKA Foetus, Wiseblood, Manorexia, DJ Otefsu, Foetus Under Glass, You’ve Got Foetus on Your Breath, Scraping Foetus Off The Wheel, Steroid Maximus et al.
Inspirational artwork, inspirational music. Album covers in order of release date, so you can see the progression of the art style.
I really like J Phillip White’s surrealistic photo manipulations. I first came across his stuff when I was doing
Returning to the Sea by J Phillip White
my Photography A-Level a few years ago in Norwich, it always stuck, because he made them in the traditional manner, with a razor blade, rather than with Photoshop. Something I admire in this day of digital.
An odd thing for a Digital Art student to be saying I’m sure, but I grew up around analogue photography, own quite a few analogue cameras (Hasselblad 500c/m, Nikon F100, Nikon Nikkormat, Nikon F1, Nikon FM1, Leica M4-2, etc) and still enjoy taking photos on these cameras.
There’s something quite mystical about it all, which is why I like his work, some of the pieces are really quite spectacular, and well worth checking out if you’re into surrealist art, I’ve posted a few below in a gallery, but it’s well worth checking out his Facebook page if you want to see more like it (and some really crazy stuff to boot).
That is all.
Money Money Money — “Gettin’ Money With a Mouse and a Wacom Pen (Fuck Comic Sans Fuck Papyrus, Too)” from Brad Chmielewski on Vimeo.
Money Money Money — “Gettin Money With a Mouse and a Wacom Pen (Fuck Comic Sans Fuck Papyrus, Too)”
Production Company: Daily Planet Productions ltd.
Music: Money Money Money (http://www.myspace.com/karatekickthegame)
Lyrics: Money Money Money & Jon Adler
Producers: Jon Adler, Brad Chmielewski & Vanida Vae
Director: Jon Adler
Director of Photography: Aaron Hui
Camera: Aaron Hui
Animators: Brad Chmielewski, Vanida Vae, Jon Adler, Jess Donofrio, Scott Pellman
Rotoscopers: Maeve Price, Anne Rooney, Drew Kordik, Shawn Sahara
Editor: Maeve Price
Holy poop. This is awesome. Indoor clouds, via Tetsuokondo.
Clouds are important elements of our atmosphere, framing outdoor space and filtering sunlight. They are the visible part of the terrestrial water cycle, carrying water— the source of life — from the oceans to the land. Clouds find balance within stable equilibria and naturally sustain themselves, embodying and releasing solar energy. The ability to touch, feel, and walk through the clouds is a notion drawn from many of our fantasies. Gazing out of airplane windows, high above the earth, we often daydream of what it might be like to live in this ethereal world of fluffy vapor.
TRANSSOLAR & Tetsuo Kondo Architects create Cloudscapes where visitors can experience a real cloud from below, within, and above floating in the center of the Arsenale. Visitors find a path that is akin the normal experience of walking through a garden. The path winds through Cloudscapes appearing and disappearing. Sometimes people only see the other people across the cloud while the path is obscured. The structure consists of a 4.3 meter high ramp that allows visitors to sit above the cloud. Simply, the structure leans on the existing Arsenale columns. The cloud is always changing so the experience of the path is also dynamic.
The cloud is based on the physical phenomenon of saturated air, condensation droplets floating in the space and condensation seeds. The atmospheres above and below the cloud have different qualities of light, temperature, and humidity, separating the spaces by a filter effect. The cloud can be touched, and it can be felt as different microclimatic conditions coincide. The scene is set underneath an artificial sky where the cloud can be touched and felt as different micro-climatic conditions coincide and where people are changing the cloud and meeting each other.
Collaboration with TRANSSOLAR / Matthias Schuler
Site : Venice, ITALY
Structural Engineer : Mutsuro Sasaki, Yoshiyuki Hiraiwa /
SAPS(Sasaki and Partners)
Period : March 2010 — August 2010
Size : W12000 x D21400 x H4300
Structure : steel
Just something I came across on Wired:
The exhibition, titled “Recorders”, is a collection of works that set out to explore and misuse surveillance technologies via visitor input. The artworks see, hear or feel the public, exhibiting awareness and recording and replaying memories gained during the show.
Two of the works are entirely new, “Please Empty Your Pockets”, where an airport-type scanner and conveyor belt project an image of what has just been scanned, along with ghost images from previous visitors’ objects; and “People On People”, where projectors play a mixture of live and recorded images of visitors into your shadows — with the latter being a co-commission by Manchester Art Gallery itself and the Abandon Normal Devices (AND) festival.
Lozano-Hemmer’s overarching focus is on technologies used to record our data but, unlike CCTV, have been given some sort of executive power. His attention is drawn by computers making choices, one example being the border control technologies programmed to scan for (and raise suspicion of) particular ethnic groups in the wake of 9/11.
Over the duration of the exhibition the works collect data from visitor input. To participate is to provide some degree of information. Lozano-Hemmer explains: “People used to go to galleries to be inspired by the art, now it’s the opposite — the art is inspired by the viewer.”
An awesome example of a projection onto a building. Lightyears ahead of anything else of this sort I’ve seen before.
Samsung apparently know how to advertise well.
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