bofransson:

Marc Chagall (Russian, 1887 - Flowers and Fowl 1929

bofransson:

Marc Chagall (Russian, 1887 - Flowers and Fowl 1929

(via annaeder)


darksilenceinsuburbia:

Julia Galdo

The Greenbrier

New York Magazine’s the Cut fashion shoot at the Greenbrier shot by JUCO (Julia Galdo and Cody Cloud)


sin-eater:

Sin eater 2014
pen and ink 

sin-eater:

Sin eater 2014

pen and ink 

(via iamnotcomplete)



littlelimpstiff14u2:

Wangechi Mutu

Kenyan-born Wangechi Mutu has trained as both a sculptor and anthropologist. Her work explores the contradictions of female and cultural identity and makes reference to colonial history, contemporary African politics and the international fashion industry. Drawing from the aesthetics of traditional crafts, science fiction and funkadelia, Mutu’s works document the contemporary myth making of endangered cultural heritage.

Piecing together magazine imagery with painted surfaces and found materials, Mutu’s elaborate collages mimic amputation, transplant operations and bionic prosthetics. Her figures become satirical mutilations. Their forms are grotesquely marred through perverse modification, echoing the atrocities of war or self-inflicted improvements of plastic surgery. Mutu examines how ideology is very much tied to corporeal form. She cites a European preference to physique that has been inflicted on and adapted by Africans, resulting in both social hierarchy and genocide.

Mutu’s figures are equally repulsive and attractive. From corruption and violence, Mutu creates a glamorous beauty. Her figures are empowered by their survivalist adaptation to atrocity, immunised and ‘improved’ by horror and victimisation. Their exaggerated features are appropriated from lifestyle magazines and constructed from festive materials such as fairy dust and fun fur. Mutu uses materials which refer to African identity and political strife: dazzling black glitter symbolises western desire which simultaneously alludes to the illegal diamond trade and its terrible consequences. Her work embodies a notion of identity crisis, where origin and ownership of cultural signifiers becomes an unsettling and dubious terrain.

Wangechi Mutu at the Saatchi Gallery

(via artistsforartists)



(via rdetection)



iheartmyart:

Anna & Elena Balbusso, for “Little Knife” by Leigh Bardugo young adult fantasy story for Tor.com 2014, U.S.

Their work, Mermaid. Men Who Wish To Drown (Tor.com), will be exhibited as a part of the group exhibition, Spectrum 2014, Museum of American Illustration of the Society of Illustrators, New York, September 02, 2014 - October 18, 2014

(via rdetection)


(via daisydicks)


vellum-speaks-silicon-listens:

Here’s an example of the spherical astrolabe (15th C.).
One point which distinguishes Star Map from the astrolabe is that in both cases, astrolabes were not meant for direct viewing. In other words, one could not do real time work. It would require measurement, enscribing, and a duration of labor, etc.
Worth mentioning, the spherical astrolabe did not have a viewing instrument, like the planispheric versions did. This made the planispheric require less work and fewer hours of it in order to chart information.

vellum-speaks-silicon-listens:

Here’s an example of the spherical astrolabe (15th C.).

One point which distinguishes Star Map from the astrolabe is that in both cases, astrolabes were not meant for direct viewing. In other words, one could not do real time work. It would require measurement, enscribing, and a duration of labor, etc.

Worth mentioning, the spherical astrolabe did not have a viewing instrument, like the planispheric versions did. This made the planispheric require less work and fewer hours of it in order to chart information.

(via grimbuck)




fleurdulys:

Between Rounds - Thomas Eakins
1899

fleurdulys:

Between Rounds - Thomas Eakins

1899

(via jim-thebarber)