via gizmodo click here
Thursday, 30 July 2009
Monday, 27 July 2009
Guillaume Apollinaire - Il Pleut
Early Sketch...
Typographic final version
It's raining
It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below
Typographic final version
It's raining
It’s raining women’s voices as if they had died even in memory
And it’s raining you as well marvellous encounters of my life O little drops
Those rearing clouds begin to neigh a whole universe of auricular cities
Listen if it rains while regret and disdain weep to an ancient music
Listen to the bonds fall off which hold you above and below
Tuesday, 21 July 2009
This is nice, yeah?
A collection of drawings by one of the funniest people I know. Influenced by the cynical, ironic law of the so called sod and her fascination with, household objects and potato based products... its the small things in life. Sketches by Lyndsey Monaghan©
Friday, 17 July 2009
The Colourful Mr Eggleston
William Eggleston is one of the most influential and original photographers alive today.
A Mississippi aristocrat with a fondness for guns, drink and women, he dragged colour into the world of art photography. Reviled in the 1970s, he is now considered a legend whose unique visual style has influenced generations of photographers and filmmakers.
Imagine shows the normally shy and elusive Eggleston at work - taking photographs on the road, in and around his home town of Memphis.
Thursday, 16 July 2009
Maurice de Vlaminck
'Good painting is like good cooking; it can be tasted, but not explained.' Maurice de Vlaminck
Village on the River, 1915
The Mortagne Road
The Harvest
'I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.' Maurice de Vlaminck
Fauvism is the movement with which Vlaminck will always be most closely associated.
However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didn't and wouldn't care what we call his approach--he was simply being true to his gut.
How He Came to Art
Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter André Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.)
When Art Noticed Him
Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincent's color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas.
Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon d'Automne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle.
Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this "wild beast." After meeting Paul Cézanne, Vlaminck's work took a turn towards balancing color with more structured compositions.
He is best known today for his Fauvism period--a span of no more than seven years. Vlaminck's later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books.
Village on the River, 1915
The Mortagne Road
The Harvest
'I heightened all my tone values and transposed into an orchestration of pure color with every single thing I felt. I was a tender-hearted savage filled with violence. I translated what I saw instinctively, without any method, and conveyed truth, not so much artistically but humanely.' Maurice de Vlaminck
Fauvism is the movement with which Vlaminck will always be most closely associated.
However, Fauvism was a very short movement and the artist had a very long career. His work briefly leaned towards Cubism (which he professed to loathe) prior to World War I; afterwards it settled into an Expressionistic style that Vlaminck maintained for the rest of his life. The important thing to remember is that, regardless of which labels we now assign to his work, he (a self-taught artist) operated instinctively. He didn't and wouldn't care what we call his approach--he was simply being true to his gut.
How He Came to Art
Vlaminck had taken a smattering of drawing classes and tried his hand at painting, but it was a chance incident that reportedly led him to make art his career. While serving his mandatory 3-year military obligation, he met the painter André Derain in 1900, when the train on which both men were riding derailed. A lifelong friendship was struck, as well as a deal to share a studio in Chatou. It was in this picturesque Seine valley village--previously popular with the Impressionists--that Vlaminck began painting in earnest. (Never a thought towards selling, mind you. He quite simply was overcome by the urge to paint.)
When Art Noticed Him
Vlaminck attended a Parisian van Gogh exhibition in 1901 and was blown away by Vincent's color choices. At this same show, Derain introduced his studio mate to Henri Matisse--perhaps the most bold colorist to ever hold a brush. Vlaminck absorbed these options, and spent the next few years pouring riotously-hued landscapes back out onto canvas.
Convinced by Derain and Matisse to show, Vlaminck began exhibiting with them in 1904. The 1905 Salon d'Automne exhibition was where the trio and a few other like minded artists received the (snarky) moniker fauves (wild beasts) from the art critic Louis Vauxcelle.
Ironically, the indifferent-to-sales Vlaminck began to sell any- and everything he painted, so in demand were the canvases of this "wild beast." After meeting Paul Cézanne, Vlaminck's work took a turn towards balancing color with more structured compositions.
He is best known today for his Fauvism period--a span of no more than seven years. Vlaminck's later work (the bulk of his career) continued to concentrate on color, sell well and be seen in exhibitions that he did not attend. In addition to painting, he produced some fine lithographs, etchings and woodcuts, and authored and illustrated a number of books.
Wednesday, 15 July 2009
Blaise Cendrars
'The devil plays piano
His gnarled fingers titillate all the women '
Still, I was an extremely bad poet
I didn't know how to go about it
I was hungry
And all the days and all the women in the cafés and all the glasses
I so wanted to drink them and break them
And all the houses and all the streets
And all the wheels of the carriages, twisting like cyclones
over the bad pavements
I would have liked to plunge them into an armorer's furnace
And I would have liked to smash all the bones
And tear out all the tongues
And liquify all those big bodies, unfamiliar and naked under garments
that made me crazy ...
I foresaw the coming the big red Christ of the Russian Revolution ...
And the sun was an ugly wound
Split open like glowing coals.
extract from La Prose du Transsibérien et de la Petite Jehanne de France
Brilliant interview from the paris review
Tuesday, 14 July 2009
Monday, 13 July 2009
Fernand Leger
Soldier With a Pipe - Oil on Cavas - 1916
Nude on a Red Background - Oil on Canvas - 1927
Combining the classical with the modern, Léger's Nude on a Red Background (1927) depicts a monumental, expressionless woman, machinelike in form and color. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation.
The Builders with Ropes - Oil on Canvas - 1950
This painting shares the cubist motif of creating a not-figurative realism, however it is distinguished from the Montmartre artists by imposing not an intellectual, but a visual cubism. Its concern is not indeed to appear the totality of the object, but to distinguish each object in volume and plan within an ideal space. It practices, according to Louis Vauxcelles, the "tubisme". Uncoupled, geometrical volumes are not static any more and indissociable, but autonomous, creating between them a dynamic antagonism.
Nude on a Red Background - Oil on Canvas - 1927
Combining the classical with the modern, Léger's Nude on a Red Background (1927) depicts a monumental, expressionless woman, machinelike in form and color. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation.
The Builders with Ropes - Oil on Canvas - 1950
This painting shares the cubist motif of creating a not-figurative realism, however it is distinguished from the Montmartre artists by imposing not an intellectual, but a visual cubism. Its concern is not indeed to appear the totality of the object, but to distinguish each object in volume and plan within an ideal space. It practices, according to Louis Vauxcelles, the "tubisme". Uncoupled, geometrical volumes are not static any more and indissociable, but autonomous, creating between them a dynamic antagonism.
Friday, 10 July 2009
Engadget goes behind the Dolby logo
Have you ever wondered what the differences between Dolby Digital Plus, Pro Logic and TrueHD were? Still trying to get your head around the evolution of digital surround sound in the past ten years? Yeah, you're not the only one so the crew over at Engadget HD made the long haul to Dolby Laboratories to learn everything there is to know about modern surround sound and what makes it work. In other words, if you are even the least bit interested in being surrounded by sound when watching movies or playing games, head on over and check it out!
Thursday, 9 July 2009
Nicolas De Staël
Noon Landscape
Seaside Railway Line in the Setting Sun
De Staël's painting career spans roughly 15 years (from 1940) and produced more than a thousand paintings. His work shows the influence of Gustave Courbet, Paul Cézanne, Henri Matisse, Pablo Picasso (especially Picasso in his Blue and Rose periods), Georges Braque, Fernand Léger and Chaim Soutine, as well as of the Dutch masters Rembrandt, Vermeer and Hercules Seghers. During the 1940s and beginning in representation (especially landscapes, but also still lifes, and portraits), de Staël moved further and further toward abstraction. Evolving his own highly distinctive and abstract style, which bears comparison with the near-contemporary American Abstract Expressionist movement, and French Tachisme, but which he developed independently of them. Typically his paintings contained block-like slabs of colour, emerging as if struggling against one another across the surface of the image.
De Staël 's work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. However, he moved away from abstraction in his later paintings, seeking a more "French" lyrical style, returning to representation (seascapes, footballers, jazz musicians, seagulls) at the end of his life. His return to imagery during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters made a similar move; returning to imagery during the mid-1950s. His painting style is characterized by a thick impasto showing traces of the brush and the palette knife, and by a division of the canvas into numerous zones of color (especially blues, reds and whites). His most well-known late paintings of beaches and landscapes are dominated by the sky and effects of light.
Much of de Staël 's late work - in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël 's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop Art of the 1960s.
from wikipedia
Seaside Railway Line in the Setting Sun
De Staël's painting career spans roughly 15 years (from 1940) and produced more than a thousand paintings. His work shows the influence of Gustave Courbet, Paul Cézanne, Henri Matisse, Pablo Picasso (especially Picasso in his Blue and Rose periods), Georges Braque, Fernand Léger and Chaim Soutine, as well as of the Dutch masters Rembrandt, Vermeer and Hercules Seghers. During the 1940s and beginning in representation (especially landscapes, but also still lifes, and portraits), de Staël moved further and further toward abstraction. Evolving his own highly distinctive and abstract style, which bears comparison with the near-contemporary American Abstract Expressionist movement, and French Tachisme, but which he developed independently of them. Typically his paintings contained block-like slabs of colour, emerging as if struggling against one another across the surface of the image.
De Staël 's work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. However, he moved away from abstraction in his later paintings, seeking a more "French" lyrical style, returning to representation (seascapes, footballers, jazz musicians, seagulls) at the end of his life. His return to imagery during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters made a similar move; returning to imagery during the mid-1950s. His painting style is characterized by a thick impasto showing traces of the brush and the palette knife, and by a division of the canvas into numerous zones of color (especially blues, reds and whites). His most well-known late paintings of beaches and landscapes are dominated by the sky and effects of light.
Much of de Staël 's late work - in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël 's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop Art of the 1960s.
from wikipedia
Wednesday, 8 July 2009
Giuseppe Arcimboldo
The Librarian
Oil on canvas - 97 × 71 cm (38.18 × 27.95 in)
Following on from our previous 'book of the week' post, is an example of the amazingly interesting paintings from Arcimboldo.
The bizarre works of Arcimboldo, especially his multiple images were rediscovered in the early 20th century by Surrealist artists like Salvidor Dali. The “The Arcimboldo Effect” exhibition at the Palazzo Grassi in Venice (1987) included numerous 'double meaning' paintings. Arcimboldo's influence can also be seen in the work of Shigeo Fukuda, Istvan Orosz, Octavio Ocampo, and Sandro del Prete, as well as the films of Jan Švankmajer.
His painting, Water, was used as the cover of the album Masque by the progressive rock band Kansas. The 'soup genie' character Boldo in the 2008 animated film The Tale of Despereaux, is composed of vegetables.
(For full gallery and more information click the image)
Oil on canvas - 97 × 71 cm (38.18 × 27.95 in)
Following on from our previous 'book of the week' post, is an example of the amazingly interesting paintings from Arcimboldo.
The bizarre works of Arcimboldo, especially his multiple images were rediscovered in the early 20th century by Surrealist artists like Salvidor Dali. The “The Arcimboldo Effect” exhibition at the Palazzo Grassi in Venice (1987) included numerous 'double meaning' paintings. Arcimboldo's influence can also be seen in the work of Shigeo Fukuda, Istvan Orosz, Octavio Ocampo, and Sandro del Prete, as well as the films of Jan Švankmajer.
His painting, Water, was used as the cover of the album Masque by the progressive rock band Kansas. The 'soup genie' character Boldo in the 2008 animated film The Tale of Despereaux, is composed of vegetables.
(For full gallery and more information click the image)
Book Of The Week - 2666 by Roberto Bolañol
The choice for this week is 2666 (2004) and was the last novel written by Chilean-born novelist Roberto Bolaño.Depicting the unsolved and still ongoing serial murders of Ciudad Juarez (Santa Teresa in the novel), the Eastern Front in World War II, and the breakdown of relationships and careers, the apocalyptic 2666 explores 20th century degeneration through a wide array of characters, locations, time periods, and stories within stories, influenced by the imagery and surrealist imagination of Arcimboldo's paintings.
The novel is substantially concerned with violence and death. According to Levi Stahl, it "is another iteration of Bolaño's increasingly baroque, cryptic, and mystical personal vision of the world, revealed obliquely by his recurrent symbols, images, and tropes", and within the novel "There is something secret, horrible, and cosmic afoot, centered around Santa Teresa (and possibly culminating in the mystical year of the book's title, a date that is referred to in passing in Amulet as well). We can at most glimpse it, in those uncanny moments when the world seems wrong."
Tuesday, 7 July 2009
Monday, 6 July 2009
Friday, 3 July 2009
Thursday, 2 July 2009
Rob Matthews - T-shirts
Rob Matthews: T-shirts and posters that wrap around your head to make you become his friend ‘Trevor Burks’ (who he misses). niiice !
Kristine Moran
So good - so so so good !
merry go round broke down. 60" X 72" 2009. oil on canvas on panel.
after the last dance. 66" X 48" 2009. oil on canvas.
pullback. 66" X 48" 2009. oil on canvas.
you used to be alright, what happened. 78" x 66" 2008. oil on panel.
http://www.kristinemoran.com/paintings.shtml
merry go round broke down. 60" X 72" 2009. oil on canvas on panel.
after the last dance. 66" X 48" 2009. oil on canvas.
pullback. 66" X 48" 2009. oil on canvas.
you used to be alright, what happened. 78" x 66" 2008. oil on panel.
http://www.kristinemoran.com/paintings.shtml
Vexations
Vexations is a 3,360 page book of photographs that serves as the interpretation of the piece for piano of the same name, composed by erik satie in 1893. it features work by aurelien arbet, jeremie egry, marco barrera and nicholas poillot
Translated with babelfish and is at points understandable - VEXATIONS is the plastic interpretation of work for piano of the same name, composed by Erik Satie in 1893. Original work consists of a musical fragment of 4 sections to carry out 840 times of continuation without stop. According to the tempo adopted by the interpreter, the complete execution of work can last between fourteen and twenty four hours. This musical text is a repetition of a single reason has and of its harmonizations A1 and A2 in the form has - A1 - has - A2. The single edition created by collective JSBJ is based in its form on the few rules imposed by the type-setter. This work thus constitutes a deliver-sculpture of 3360 pages made up of a succession of 4 photographs each one repeated 840 times. The contents as for him, were thought in agreement with the few mentions indicated by Erik Satie. The tempo is read “Very slow”, the photocopied images return thus to a feeling of depth, disproportion, trouble and vacuum. At the head of partition, the type-setter also writes this note: “To play 840 times of continuation this reason, it will be good to prepare as a preliminary, and in greatest silence, by serious immobilities”. The consultation of this work will thus plunge the regardor in an impression of torpor, illusion, frustration and infinite. Vexations is an enigmatic work which cannot be included/understood and to test itself better only in the duration. That supposes to traverse it a time at least, “at will, not more”, as Satie wrote it.
see it here...
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