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Traditionally, the subjects depicted in Western art were either religious or rich — wealthy patrons paid for paintings of themselves or of their religions. As Evan Puschak explains in this brief video essay, that began to change in the 16th century as revolution, reformation, and the development of a merchant class shifted who was worthy of depiction and who could pay.
Stephanie Shih is a Brooklyn-based ceramic artist who makes painted sculptures of ordinary objects like food, shoes, hats, and signs. A recent exhibition focused on the overlap of immigrant communities of Asians and Jews on NYC’s Lower East Side and Chinatown.
A few yards from where the Bernstein-on-Essex sign hangs is a long table that displays Shih’s sculpted takes on other iconic food and drink, like a bilingual bottle of Soy Vay Veri Veri Teriyaki, roast pork on garlic bread, Golden Plum Chinkiang Vinegar, and a can of Dr. Brown’s Cel-Ray Soda.
“A lot of my solo shows are about this idea of authenticity,” says Shih, who has been working in ceramic full-time since 2015. “There are no cultures that are untouched by other cultures. These are two communities that grew up alongside each other. It was not always friendly, but simply from proximity and the fact that they were the two largest non-Christian immigrant groups, they had commonalities.” For example, she says, the tradition of Jews eating Chinese food on Christmas began right near Harkawik, on the Lower East Side.
You can find much more of her work on Instagram.
British land artist Justin Bateman makes these incredible portraits of people and objects using small stones and pebbles he finds in locations around his home in Chiang Mai, Thailand. Each portrait is documented and then left to atrophy, either by rain, wind, or human/animal intervention.
See also these stone alphabets by Clotilde Olyff. Prints are available. (via my modern met)
Among the many creative collages by Dutch art director Toon Joosen is this series of images of people interacting with the pages of books in fun ways. You can check them out on his Instagram or purchase some of them as prints on his Etsy shop.
Love these absurdist portraits of over-luxuriated nobles in the style of Rococo and Baroque European painters by Volker Hermes. You can check out more of his work on Instagram. (via colossal)
Yuri Suzuki’s The Ambient Machine is a device for creating atmosphere, playing ambient sounds. The machine has 32 toggle switches on it; each switch actives a different sound (waves, running water, birds, wind, white noise) that you can blend to create your perfect aural backdrop.
The Ambient Machine provides us with a variety of sounds and music that we can use to design our own background ambience. White noise can mask unpleasant sounds around us and give us a sense of relief, Natural sounds can provide the feeling of relocating to a new environment, providing a break from the environments we have been confined to, and musical rhythms can provide patterns for us to find stability with.
Only 20 models of the original machine were created and sold, but you can preorder a slightly different version for ¥143,000 (~$1,000).
For some reason, a chap calling himself Mr. Doodle has covered his entire house, like every single inch, with black and white illustrations. As a top commenter says on YouTube, “I would 100% go insane after my 2nd day living in that house but the props I give this man for his work are absolutely immense”. (via boing boing)
Heidi Gustafson is the curator of Ochre Sanctuary, a collection of iron-based earths that are the oldest natural pigments used by humans. In her new Book of Earth, Gustafson details where these pigments come from and how to use them to create art. Here are a few images from the book and the Ochre Sanctuary:
Looks like a gorgeous book. Check out her Instagram for more colorful photos of ochres.
Noh is a classical Japanese art of dramatic dance that’s been performed since the 14th century. The masks worn by characters are an art form in themselves, and in this video, an expert craftsperson carves a noh mask out of a single block of Japanese cypress and then paints it with pigments made from crushed seashells.
I love the look of the rough texture of the mask when she’s about halfway through, before she smoothes it out with the paint — it’s like IRL low-poly. But the detail of the finished product is incredible.
See also How to Carve Marble Like Italian Master Donatello. (via open culture)
In 2015, artist Olafur Eliasson designed the Circle Bridge (Cirkelbroen) to span a canal in central Copenhagen. The pedestrian bridge was designed to slow people down a bit:
The bridge is made of five circular platforms, and it contributes to a larger circle that will form a pedestrian route around Copenhagen Harbour, where people — cycling, running, walking — can see the city from a very different perspective. As many as 5,000 people will cross this bridge each day. I hope that these people will use Cirkelbroen as a meeting place, and that the zigzag design of the bridge will make them reduce their speed and take a break. To hesitate on our way is to engage in bodily thought. I see such introspection as an essential part of a vibrant city.
Small boats can travel easily under the bridge but a section of the bridge also swings gracefully away to let larger boats pass. (via greg allen)
Using colorful wooden blocks cut at different angles, Timur Zagirov makes pixel-log 1 representations of famous artworks by Vermeer, van Gogh, and Leonardo. You can check out his work on Instagram or at Stowe Gallery. (via moss & fog)
Pixelized + analog + wood = pixel-log! Ok fine that’s terrible but I’m leaving it in. 😜↩
Hardware engineer Mohit Bhoite designs functional little desktop bots like this thermometer and this internet-connected weather display:
These are adorable…there’s no other way to describe them. You can check out more of Bhoite’s sculptures on his website or on Instagram. (via core77)
Artist Amy Goodchild recently published an engaging article about the earliest computer art from the 50s and 60s.
My original vision for this article was to cover the development of computer art from the 50’s to the 90’s, but it turns out there’s an abundance of things without even getting half way through that era. So in this article we’ll look at how Lovelace’s ideas for creativity with a computer first came to life in the 50’s and 60’s, and I’ll cover later decades in future articles.
I stray from computer art into electronic, kinetic and mechanical art because the lines are blurred, it contributes to the historical context, and also because there is some cool stuff to look at.
Cool stuff indeed — I’ve included some of my favorite pieces that Goodchild highlighted above. (via waxy)
On their YouTube channel, Art21 hosts a treasure trove of video profiles of artists like Amy Sherald, Olafur Eliasson, Chris Ware, Christian Marclay, Anish Kapoor, Kara Walker, Barbara Kruger, Julie Mehretu, and Sally Mann.
This is excellent — what a resource. (via colossal)
As part of a project to reproduce all 36 of Hokusai’s views of Mount Fuji as 1-bit black & white pixel art, James Weiner drew Great Wave Off Kanagawa:
And he used an old Mac running System 7 to do it:
I usually use either my Quadra 700 or PowerBook 100, mostly because those are my reliable and easy to access computers (that run System 7, my favourite and most familiar OS of that era).
Software-wise I use Aldus SuperPaint 3.0, which is what my family had when I was a kid. Yes, I’d say that all of this is 99% nostalgia-driven…
This is just a lovely rendering — spare and elegant with just the right amount of detail.
The three images above were created by long-exposure photography of the flight paths of drones with onboard bright lights.
The first image is from Jadikan’s new series, Phénomènes (Instagram), in which he uses fireworks to create brightly-lit cylindrical forms.
The second one is by Will Ferguson of Broadway Tower in the Cotswolds — you can see more of his aerial work here or on Instagram.
The third is from Reuben Wu (Instagram), whose work I’ve featured here for many years. IMO, Wu’s work is slightly more polished than Jadikan’s or Ferguson’s, but I enjoy experiencing all of it. (via petapixel)
No matter which side you come down on in the debate about using AI tools like Stable Diffusion and Midjourney to create digital art, this video of an experienced digital artist explaining how he uses AI in his workflow is worth a watch. I thought this comment was particularly interesting:
I see the overall process as a joint effort with the AI. I’ve been a traditional artist for 2 decades, painting on canvas. And in the last five years I’ve been doing a lot of digital art. So from that part of myself, I don’t feel threatened at all.
I feel this is an opportunity. An opportunity for many new talented people to jump on a new branch of art that is completely different from the one that we have already in digital art and just open up new way of being creative.
The paintings in David Ambarzumjan’s Brushstrokes in Time series bring together large, rough brushstrokes with intricate landscapes — it’s a stimulating combination. A popular one too: all of his prints are currently sold out but there’s some new ones coming soon. You can also check Instagram for auctions of the original oil paintings. (via my modern met)
Josh Gluckstein makes these remarkably detailed sculptures of animals out of cardboard and paper.
Inspired by my extensive travels and volunteering through Asia, Africa and South America, I have sought to capture the presence of some of the most majestic animals I have seen by creating life-size sculptures, often made from found and recycled materials. I have continually strived to make my practice more and more sustainable, and my new collection is made entirely of recycled cardboard and paper. Its accessibility and versatility allows me to bring the animal to life and capture their character and intriguing beauty while creating zero waste.
(via colossal)
In a video for the Victoria and Albert Museum, sculptor Simon Smith shows us how Renaissance sculptor Donatello might have approached carving a piece from marble, which Smith calls “the Emperor of all stones”.
It’s all about trapping shadows. Carving is all about having deep cuts here and lighter here and the angle here and how the light plays on it. And certainly in relief…because relief carving like this, it’s kind of halfway between sculpture and drawing. If you’re doing a three-dimensional sculpture, if a form runs around the back you just carve it so it goes around the back, but with this you have to give the illusion of it running around the back like a drawing. You’ve got to make something look like it turns around and comes out the other side even though it really is just going into the block. And that’s all about angles and shadow and light.
Charles Brooks takes photographs of the insides of musical instruments like pianos, clarinets, violins, and organs and makes them look like massive building interiors, enormous tunnels, and other megastructures. So damn cool. Some of the instruments he photographs are decades and centuries old, and you can see the patina of age & use alongside the tool marks of the original makers. Prints are available if you’d like to hang one of these on your wall.
And if you liked those, don’t miss these Dreamy Cave-Like Photos Taken Inside Musical Instruments. (via moss & fog)
During the course of my online travels, I see a lot of cool and interesting things, but this one really stopped me in my tracks. David Popa uses natural pigments to draw large format portraits on fractured sheets of ice and then photographs them from above. Wow, wow, wow. From a profile of Popa’s work at Colossal:
Because many of his works are destined to melt and be reabsorbed, Popa opts for natural materials like white chalk from the Champagne region, ochres from France and Italy, and powdered charcoal he makes himself — the latter also plays a small role in purifying the water, leaving it cleaner than the artist found it. Most pieces take between three and six hours to complete, and his work time is dependent on the weather, temperature, and condition of the sea. “The charcoal will sink into the ice and disappear from a very dark shade to a medium shade, so it has to be created very quickly and documented. No to mention the work on the ice will just crack and drift away completely, or the next day it will snow and be completely covered,” he says. “I’m really battling the elements.”
I love these so much — they remind me of self-portraits taken in shattered mirrors or fragmented mirrored surfaces, a practice I apparently engage in with some regularity.
These are lovely: voxel rooms of Malaysian hawker stalls and other shops by Shin Oh. She started making them after quitting her job due to anxiety and depression:
At that point in my life, I lost passion and interest in everything, I was feeling worthless, I felt like there was nothing I was good at,” Shin shares. But, later in her career break she discovered voxel art, and this, she says, is when things started to change. Noticing that voxel art was making her “more focused, relaxed and calm” after six months she began to share her creations on social media, and receiving good responses, she felt herself regaining her “long-lost” self confidence. “Making voxel art is now my hobby and my job, it’s a fun way for me to explore and express myself,” Shin concludes. “Voxel art has saved my life.”
(via present & correct)
Internet artist evbuilds creates these chunky pixelized abstract images in Microsoft Excel.
Excel is one of those rare pieces of software that is terrifically useful at what it’s designed to do but also powerful enough where you can make it do things that perhaps it really shouldn’t be doing. See also The Excel Spreadsheet Artist, Making Music in Excel, and Super Mario Bros Recreated in Excel.
What I like about the still image above, along with the rest of the images in a project called In Anxious Anticipation by Aaron Tilley & Kyle Bean, is that it makes a noise. It’s so cool how your brain sees what’s about to happen and then you hear eggs smashing on a hard surface — splat, splat, splat. More still art should make noise! (via moss & fog)
I like these paintings by Spanish artist Lino Lago where traditional oil painted portraits peek through bright color fields. He calls them Fake Abstracts. (via colossal)
As it ripens, banana skin oxidizes and turns black. Bruising the skin speeds up the process, a fact that Anna Chojnicka exploits to create these bruised banana artworks (also on Instagram). Here’s how it works:
I bruise the peel by pressing into it lightly with a blunt point. Speeding up and controlling the bruising process conjures light and shade in the image.
Over a few hours, the mark gradually goes darker until black. I start with the darkest parts of the image first, and then work my way backwards, finishing with the lightest parts last.
By managing the timing, it’s possible to make intricate images with graduating shades. There’s a short window of time when the image looks its best; I photograph the banana, and then eat it.
Chojnicka started the project in the early days of the pandemic while bored/delirious at home with a suspected Covid infection. The increase in art using found objects during the pandemic is fascinating: people couldn’t spend a lot of time out of the house, so they reached for whatever they could find to express their creativity…in this case, bananas.
F. C. Schang collected the calling cards of prominent artists and musicians and in the late 20th century, donated a collection of them to Met Museum.
Calling cards derived from a custom, originating in England, in which messages were inscribed on the backs of playing cards. Cards made for the express purpose of sharing hand-written messages were manufactured beginning in the eighteenth century; by the early-nineteenth century, calling cards had become a popular means for sending well wishes, holiday greetings, condolences, and messages of courtship.
The cards include those of Klee, Renoir, Pissarro, Rodin, Monet, Mondrian, Braque, Toulouse-Lautrec, Manet, and many more. I think my favorites are Piet Mondrian’s (above) and Joan Miró’s, the former because it’s very much in keeping with the artist’s style and the latter because it isn’t:
Schang published a book of these cards in 1983 — it’s long out of print but you can get one here (signed, no less). He also collected the calling cards of generally famous people, singers, pianists, and violinists. (via greg allen)
Back in 2020, the Smithsonian Institution placed 2.8 million high-resolution images and 3D models of objects in their collection into the public domain via their Open Access initiative. Over the past three years, that collection has grown to 4.5 million images, an absolutely immense trove of objects that people are free to use and remix however they wish.
That last image is the mailing wrapper from when jeweler Harry Winston sent the Hope Diamond (currently valued at $200-350 million) to the Smithsonian through the regular US Mail.
Mailed on the morning of November 8 from New York City, the item was sent by registered (first class) mail — considered the safest means of transport for valuables at that time. The total fee was $145.29 (see the meter machine tapes). Postage only amounted to $2.44 for the package which weighed 61 ounces. The remainder of the fee ($142.85) paid for an indemnity of about $1 million.
(via my modern met)
For his project Study of Perspective, artist and activist Ai Weiwei took photos of himself flipping off “significant institutions, landmarks and monuments from around the world”, notably Tiananmen Square in 1995. Using this Google Street View-enabled web tool, you can use Ai’s middle finger to flip off anything you’d like, anywhere in the world.
I’ve included a few examples above from the site’s archive. In a brief review of what folks have done with the site recently, I observed several shots of the Kremlin, the Eiffel Tower, churches, and various Trump buildings, but I also saw the Stonewall Inn and other gay landmarks.
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