Combining 19th century cabinet card portraiture with superheroes, movie monsters, and other idols, artist Alex Gross has created an army of whimsical trading cards with a vintage feel. Stoic figures from the past have been reincarnated as the stars of Superman, Star Trek, Star Wars, and other cult faves. Gross doesn’t just slap a painted costume on each individual, though. He transforms them into lively characters by creating new landscapes for them to dwell in, complete with props and other quirky touches. Flavorwire Link.
Archive for January, 2012
The body of work by washington DC-based artist jim sanborn is saturated with archeological, mathematical and scientific exploration through sculpture and photography. sanborn aims to highlight normally unseen aspects of existent concepts or objects such as the coriolis effect, the earth’s magnetic field or cryptography. his work is especially appreciated by the world’s scientific community– the artist has created pieces for massachusetts institute of technology, the central intelligence agency, the national oceanic and atmospheric administration in addition to many art-specific spaces.
Sanborn, developed the ‘topographic projections and implied geometries’ series in the late 1990’s. each image was produced by the use of a large format light projection system aimed at each earthen sculpture from a half mile away. the light projections,
orchestrated by sanborn, were powered by generator which was transported by the artist in order to continuously produce the light shape for an extended period of time, then captured in the long exposure photographs. in this way, sanborn is able to
seemingly superimpose mathematical shapes onto the rock formations of the american south west and the jagged coastline of ireland. Link
“My ‘Little People Project’ started in 2006. It involves the remodelling and painting of miniature model train set characters, which I then place and leave on the street. It is both a street art installation project and a photography project. The street-based side of my work plays with the notion of surprise and I aim to encourage city-dwellers to be more aware of their surroundings. The scenes I set up, more evident through the photography, and the titles I give these scenes aim to reflect the loneliness and melancholy of living in a big city, almost being lost and overwhelmed. But underneath this, there is always some humour. I want people to be able to empathise with the tiny people in my works.” – Sinkachu
Sanna Dullaway, a Swedish artist who added color to a series of iconic black-and-white photos, is now receiving a lot of unwanted attention for her project. A week ago the artist wrote on Reddit: “I thought I’d show my best colourizations and some restorations that I’ve been doing for fun. Hope you enjoy!” But now some critics are saying that Dullaway has gone too far.
Some photos are of historical figures like Abraham Lincoln and Che Guevara, and others are of graphic images of bombings, war, and civil unrest.
What do you think? Are the originals better, or do you prefer the color restorations?
Bremer turns photographs, found or snapped, of himself and his family into trippy, dusty memories that reveal the subconscious and the real world in one blink of an eye. He invents a poetic braille made up of text, personal symbols and ghostly shapes that, when integrated with their complex grounds, disappear again, buried in a sea of suspended dots. By slowly and laboriously painting on top of quickly taken snapshots, Bremer slows down time to render a hauntingly beautiful interior landscape.
America’s cultural mindset, its ideals of autonomy and independence, derives, in part, from its abundance and proliferation of space – its history, its presence and its future. The places in this series are everywhere. They show neglect and disintegration, are present and yet are disregarded, are ubiquitous and yet abandoned, are both forgotten signifiers of promise and mute symptoms of decline.
For more than 20 years, the fine art photographer Harold Ross has been making images using a technique known as “painting with light,” which involves casting light on and around subjects in the dark during a time exposure. Mr. Ross, who also does commercial and studio photography, prefers to call the process “sculpting with light.” Using a Phase One Back on a Hassleblad for still life photographs and a Cambo Wide RS for landscapes, he spends hours creating his images, which look like oil paintings, rich in color and depth.
“Photography, by its very nature, is born of and lives in the technical realm,” Mr. Ross said. “The use and control of light is at the very core of my work. Like many photographers, I make images by adding light to darkness, but I do it differently.”
He sees his “Night” work, above, as a contradiction between a real scene and the artificiality of lighting. For Mr. Ross, the process is about curiosity. “What will be revealed? I can’t previsualize the images, as the light doesn’t exist until I build it up. It really is a gathering, or coalescence, of light.”