visual haberdashery

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I’m not saying this ok, I’m not saying it’s not weird, but this is definitely noteworthy, who would look at their dog and thinks to themselves I’m going to make you look like the entire cast of the Muppets today?!

Photographer Ren Netherland has been going around Dog Grooming competitions documenting these pets sculptures.  They are definitely kitsch, tacky and some kind of weird spin off from craftsy-ness, but also pretty impressive.

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The photographs are derived from x-rays of classical sculptures from the Getty Center, Los Angeles and the Asian Art Museum of San Francisco. David Maisel began this series during a 2007 residency at the Getty Research Institute. Originally used for conservation purposes, Maisel invites us to consider the aesthetics of the x-ray itself. To create these pictures, he re-photographed the x-rays on a light box, scanning and extensively manipulating the resulting images, bringing forth colors that reference cyanotypes, albumen prints, and other 19th-century photographic processes. 

Maisel writes, “The ghostly images of these x-rays seemed to surpass the potency of the original objects of art. These spectral renderings were like transmissions from the distant past, conveying messages across time, and connecting the contemporary viewer to the art impulse at the core of these ancient works.”

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Paintings by Paul Klee

Paul Klee (German pronunciation: [ˈkleː]; 18 December 1879 – 29 June 1940) was born inMünchenbuchsee, Switzerland, and is considered both a German and a Swiss[a] painter. His highly individual style was influenced by movements in art that included expressionismcubism, and surrealism. He was also a student of orientalism.[1] Klee was a natural draftsman who experimented with and eventually mastered colour theory, and wrote extensively about it; his lectures Writings on Form and Design Theory (Schriften zur Form und Gestaltungslehre), published in English as thePaul Klee Notebooks, are considered so important for modern art that they are compared to the importance that Leonardo da Vinci‘s A Treatise on Painting had for Renaissance.[2][3][4] He and his colleague, the Russian painter Wassily Kandinsky, both taught at the German Bauhaus school of art, design and architecture.

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One may wonder why Bearden chose the technique of collage to support Civil Rights Movement and assert African American rights. The reason he used this technique was because “he felt that art portraying the lives of African American’s did not give full value to the individual. […] In doing so he was able to combine abstract art with real images so that people of different cultures could grasp the subject matter of the African American culture: The people. This is why his theme always exemplified people of color.”[18] In addition, collage’s technique of gathering several pieces together to create one assembled work “symbolizes the coming together of tradition and communities.”[17]

Wish I could have seen this back in 2003.  

The weather project was installed at the London's Tate Modern in 2003. The installation filled the open space of the gallery’s Turbine Hall.

Eliasson used humidifiers to create a fine mist in the air via a mixture of sugar and water, as well as a semi-circular disc made up of hundreds of monochromatic lamps which radiated single frequency yellow light. The ceiling of the hall was covered with a hugemirrors, in which visitors could see themselves as tiny black shadows against a mass of orange light. 

Olafur Eliasson’s “Weather Project” employed a fine mist to complete the sunset haze environment of the hundreds of mono-frequency lamps. The mist would accumulate into faint, cloudy formations,varying with each visit.

[Olafur Eliasson, The weather project (2003) in Turbine Hall at the Tate Modern, London.]

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The Olympics were promised to do a lot for London Culture with many new art pieces produced specially and performances across the city.  However the famous rings have not been so kind to existing street art.

From the Telegraph:

London is famed for its street art but authorities have been accused of a heavy-handed approach to cleaning up art during the Olympics.

Above

Street artist James Cochran, Aka Jimmy C with his latest piece of work, depicting the face of Jamaican sprinter Usain Bolt

James Cochran, whose vivid mural of the world’s fastest man Usain Bolt beams over an east London car park, said he was careful to seek official approval before shaking the first aerosol can. The British-Australian artist told AFP: “They said, ‘By the way, don’t touch the Olympic rings - there’s very strict copyright control on that’. They’re getting a bit authoritarian. The Olympic Committee have got to be careful that they don’t infringe on freedom of expression. Sometimes you think, 'Jeez, Beijing was more open-minded.’”

British Transport Police arrested four graffiti artists this month and banned them from Olympic venues in an apparent bid to prevent the Games becoming a target for subversive spray-painters.

“There’s a more widespread clean-up operation than normal, definitely,” street artist Mau Mau said. “There’s loads of work disappearing from the tracksides by the railways.”

Mau Mau, who declined to give his real name, made his own Olympic offering to the city walls a few weeks ago: an overweight McDonalds clown, carrying a torch labelled “Coca-Cola” that was spewing out a thick plume of black smoke.

Both brands are official sponsors of the Games.

“I painted it to protest against the corporate takeover of the Olympics,” he explained.

Mau Mau created the west London mural with the permission of the wall’s owner, but it was whitewashed just six days later by Ealing Council, which said it had received a complaint from a member of the public.

“It wasn’t offensive,” said Mau Mau. “It was just a picture of a fat clown.”

Read more here…