In 2006, photographer Mark Preuschl recreated Georges Seurat’s famous impressionist painting A Sunday on La Grande Jatte in Beloit, WI with a group of volunteers. Here’s the original for reference:
In conceiving this tableau vivant, the organizers wanted to keep things modern. Thus, all participants are wearing contemporary clothes with umbrellas substituted in for the 19th-century parasols. Though the team was organized, they weren’t quite prepared for what mother nature threw their way the day of the shoot. Preuschl recalls winds of 20 to 25 mph coming off the river, as well as clouds that didn’t allow for the shadows they were so desperately looking for. Luckily, there was a window of about 25 minutes when the sun came out and cast those shadows.
He really couldn’t have scouted that location any better…it matches the original pretty well. Who knew you could find Belle Époque Paris in southern Wisconsin?
This is pretty cool: in collaboration with the British Museum, a team led by woodblock printmaker David Bull (who I first wrote about back in 20051) is carving woodblocks and creating prints from a series of previously unpublished drawings by legendary Japanese artist Katsushika Hokusai.
The Museum has in their possession a group of drawings by Hokusai that were apparently intended for use in the production of a series of books. For reasons unknown to us now that project was cancelled, but the drawings survived, and we have selected 12 of them for a new subscription series.
For more details of the collection of images, please refer to this page of the British Museum website. But here, we can simply note that the drawings fall into a number of categories, and our set will reflect that diversity. Hokusai’s series was intended to take his readers through aspects of Japanese historical culture, and we will meet Buddhist deities, warriors from ancient China, and historical landscapes, along with more prosaic scenes of the natural world.
The print shown above was the first one to be sent out in January. But look at this original drawing from the collection:
Wow. That is shockingly modern — like a 60s superhero comic or a still from 60s anime. I hope they reprint this one!
Here’s a video from the British Museum of Bull talking about the project:
If you make woodblock prints for a living, you know the name Hokusai, and if you’re a woodblock carver and you hear about original drawings from Hokusai that have never been carved into prints you would most likely do a little happy dance.
In 1842, a French artist and scholar named Joseph-Philibert Girault de Prangey set out on a tour of the eastern Mediterranean to document sights and architecture via the brand new medium of photography. He started off in what is now Italy and continued on to Greece, Egypt, Turkey, Syria, and the Levant (which includes modern-day Lebanon, Israel, and Palestine). The daguerreotypes he took are the oldest surviving photos of those locations (aside from Italy). It’s incredible to time travel back 180 years to see what these places looked like. (via aeon)
I’m taken with the style of Jun Kumaori’s illustrations — they look like drawings of (stay with me here) small JPEGs converted to GIFs and then clumsily enlarged, complete with all of the resultant digital artifacts. This makes me nostalgic for the late 90s web and Photoshop 3.0. (via the fox is black)
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.
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.
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.
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.
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:
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.
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. 😜↩
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)
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 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.
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.
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.
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 withsomeregularity.
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.”
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)
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