Mike Winkelmann is currently a graphic designer living and working in Neenah, Wisconsin, USA. Beeple is the pseudonym for his personal work that includes short films, live visuals, graphic design, music and drawings. Most of his current work focuses on ways to visual music through video. His work has screened at onedotzero, Siggraph, Optronica, the Ann Arbor Film Festival, the Milwaukee Art Museum, the Chicago Underground Film Festival, and many more. He has also released work on Flying Lotus’ Brainfeeder labe.
GUCCI PRE-FALL 2017: “SOUL SCENE” - creative director: Alessandro Michele - art
director: Christopher Simmonds - photography: Glen Luchford - hair: Paul
Hanlon - makeup: Yadim Carranza - models: Nicole Atieno, Elibeidy,
Bakay Diaby & Keiron Berton Caynes plus 25 professional dancers
by the portraiture of Malian artist Malick Sidibé, who photographed
local nightlife and youth culture in his hometown of Bamako, the
campaign explores the freedom of expression found in music and dance.
Set in dancehall and rich, colorful, make-shift studios, the images
capture a group of men and women dancing passionately and posing for
photographs. Referencing the spirit of England’s underground Northern
Soul movement of the 60’s, with its distinctive, athletic dance moves
and exuberant social scene, the images by Glen Luchford are dynamic,
vibrant and spontaneous.” - Gucci
EFOTD follower vaaada wrote in a while ago requesting a … different kind of curation. apparently she’s been really into teeth things, and i’m going to help feed her recent obsession! this big sky tooth print is a little weird but a lot awesome-looking. somehow, i kinda love it? :D more teeth-related finds coming up!
Since 1924 the Print Club of Cleveland has issued an annual
presentation print exclusively for its membership. Artists are invited to
create a work in the printmaking technique of their choosing. In 1945 Salvador
Dali was asked to create an etching for the club’s 1946 publication. Admiring
his recent work, The Sleeping Nautilus,
made for the Steuben Glass Company, the artist was asked to submit drawings
based on mythological themes. Dali’s first drawing, Rapt d’Afrique, was rejected as being too sensational. Henry Sayles
Francis, Curator of Prints and Drawings and Print Club secretary, sent a plaintive
letter to Mrs. Dali requesting the artist consider a different subject. Dali
replied with St. George and the Dragon
which was enthusiastically accepted.
Approval of the drawing was the beginning of a lengthy saga
that resulted in the delay of the publication until 1947. The contract with
Dali included $500 for his work and provided him with the copper printing plate
to create his etching. A plate was purchased but arrived at the museum
scratched. Efforts to repair it ruined it instead and another plate had to be
procured. In March 1946 the plate was shipped to the artist in California where
it languished in a crate while the artist completed a contract with Walt
Disney. In November Henry Sayles Francis received a letter from Mrs. Dali requesting
the assistance of a specialist who could help in creating the etching. Mr.
Francis scrambled to find a collaborator in New York, where Dali was now
located, but to no avail. In a desperate attempt to complete the etching he
even suggested shipping the plate and drawing back to the museum where a
“competent etcher” on staff could complete the work.
As it turned out, Dali was asking only for the use of a
studio in which to etch the plate. In January 1947 Print Club member Charles E.
Roseman, Jr. made arrangements with Stanley William Hayter for the use of
Atelier 17. By the end of March proofs were ready for approval by the Print
Club. 260 impressions and three trial prints were sent to Dali for his
signature in June along with payment for his services.
St. George and the
Dragon was announced to the public and featured in an exhibition of 65
works by the artist in October 1947.