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US dollars redesigned by Travis Purrington. The goal was to develop a similar updated iconographic system better representing the advancements and culture within the American society. (Source)

When they’d gone, Lady Sybil sat for a while staring at her hands.
(…) In many ways, she told herself, she was very lucky. She was very proud of Sam. He worked hard for a lot of people. He cared about people who weren’t important. He always had far more to cope with than was good for him. He was the most civilized man she’d ever met. Not a gentleman, thank goodness, but a gentle man.
She never really knew what it was he did. (…) He tended to drop his clothes into the laundry basket before he eventually came to bed, so she’d only hear later from the laundry girl about the bloodstains and the mud.
(…) There was a Sam Vimes she knew, who went out and came home again, and out there was another Sam Vimes who hardly belonged to her and lived in the same world as all those men with the dreadful names…
Sybil Ramkin had been brought up to be thrifty, thoughtful, genteel in an outdoor sort of way, and to think kindly of people.
She looked at the pictures again, in the silence of the house.
Then she blew her nose loudly and went off to do the packing and other sensible things.
—  From The Fifth Elephant.

“You never see a positive drug story on the news. They always have the same LSD story. You’ve all seen it: "Today a young man on acid…thought he could fly…jumped out of a building…what a tragedy!” What a dick. He’s an idiot. If he thought he could fly, why didn’t he take off from the ground first? Check it out? You don’t see geese lined up to catch elevators to fly south; they fly from the fucking ground. He’s an idiot. He’s dead. Good! We lost a moron? Fucking celebrate. There’s one less moron in the world…

…Wouldn’t you like to see a positive LSD story on the news? To base your decision on information rather than scare tactics and superstition? Perhaps? Wouldn’t that be interesting? Just for once?…

“Today, a young man on acid realized that all matter is merely energy condensed to a slow vibration – that we are all one consciousness experiencing itself subjectively. There’s no such thing as death, life is only a dream, and we’re the imagination of ourselves. Here’s Tom with the weather.”

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Agostino Arrivabene Pursues Romantic Mythological Themes in “Hierogamy”

Italian artist Agostino Arrivabene paints an iconographic universe that exists somewhere at the division between the real world from the spiritual realm. Previously featured here on our blog, his works include landscapes, portraits, and large paintings allegorical and apocalyptic in nature. Subjects of his paintings often appear as if from another time and place, celestial bodies and nudes emerging from the earth that recall the figures of those who influence him, particularly Gustave Moreau and Odd Nerdrum. Arrivabene describes his personal world as one that is eclectic and occult, where his artistic language changes depending on his life experience. His upcoming solo exhibition at Cara Gallery in New York, “Hierogamy”, delves into mythological themes and ideas about personal intimacy, change, and time. 

Hi-Fructose

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Susan Kare, Macintosh Icons, 1984. Apple Computer Inc. USA

Kare’s trash can, folders, smiley Mac, command button symbol and other icons are reduced to just a few pixels (32 x 32) yet they remain recognizable. Her  influence on the look and feel of the graphical user interface extended to the appearance of the windows, drop down menus, dialogue boxes and fonts. All these elements were as crucial, influential and memorable in the success of the Macintosh system as any of the engineering and product design feats accomplished by the Macintosh design team. Exhibition Interface, Powerhouse Museum Sydney

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Zeng Chuanxing was born in 1974 in Longchang County, Sichuan Province. Just as many of his fellow Chinese artists, Chuan Xing Zeng adheres to a philosophy of art for a purpose.

His work is heavily endowed with the larger cultural issues at stake in modern-day (Chinese) life, yet remains steeped in a Western art tradition. Reliant on iconographical metaphors and a traditional concept of representation, his series of Paper Brides comments on the fragility of marriage and female identity in contemporary Chinese culture.

His brides, dressed in delicate paper gowns, alternatively dressed in either white or red (white the traditional colour of a Western bride, red that of the Chinese) highlight the vulnerability of the once unbreakable bond that the wedding vow created. His work embodies the very best of the cross-cultural artistic relationship that exists between the East and the West.

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