thedsgnblog:

RIP Massimo Vignelli

Vignelli tribute poster series by Anthony Neil Dart - a South African born Designer / Director now living and working in Seattle, Washington, USA for Xbox. 

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vimeo:

A 5 minute retro Sci-fi fantasy film and music video in which a teacher struggles to get a grip of the holographic world while young love blooms

sfmoma:

Most of us do not even know how to ask a question. Most of us do not see the root of the word ‘question’ is ‘quest’. Most of us don’t have a quest in our life.

-Richard Saul, Wurman TED founder

What is your quest?

WATCH: 20 artists and cultural figures discuss creativity and the inspiration they draw from→ here

READ: more quotes from the video in this Huffington Post article.

animationtidbits:

Edgar Wright - How to Do Visual Comedy

gregorysiff:

Support. https://aoe.webrand.com/crowdshops/the-art-of-elysium

Created and inspired by the stories of @theartofelysium youths that I paint and talk about the craziness of life with. @WeBRANDsociety and myself teamed up to make a highly limited quantity of dope gear to help the AOE cause and add some flavor to the world. https://aoe.webrand.com/crowdshops/the-art-of-elysium Cop some today if still available at #gregorysiff #webrand #biggietupaceazy #fashion #fresh proceeds go to #theartofelysium special thanks Leslie Culp, Brandon Kaufer and Alyssa Musket. #dogoodthings

whereiseefashion:

Match #142

Issey Miyake RTW Spring 2014 | Interior of the Caixa Forum art gallery in Madrid, Spain

More matches here

artandsciencejournal:

Art as Aftershock

Earthquakes are dangerous phenomena, yet two artists chose to present these natural disasters, in a way that makes viewers contemplate, rather than fear them.

Luke Jerram and Carlos Amorales created works that comment on the 2011 Japanese Tōhoku earthquake and tsunami, and 1985 earthquake in Mexico City, respectively. Their works allow viewers to contemplate the nature of earthquakes with the help of visualizations through seismographic data.

In Jerram’s piece, the artist took the seismographic data from the Tōhoku earthquake, and rotated it using a computer program to see the data in three-dimensions, later printing it in those dimensions. The sculpture, made in 2011, represents nine minutes of the earthquake, allowing viewers to calculate, and imagine, the severity of the disaster on their own.

Amorales approaches the 1985 earthquake in a more theoretical presentation, in “Vertical Earthquake” (2010). Rather than using data, the artist creates his own fault lines and cracks on the walls, drawing epicentres around each. The artist chose to capture the chaos and emotion of the event. Within the installation, newspaper clippings of the disaster are displayed, with fault lines drawn on them as well.

Where Jerram uses data to help visualize the severity of the earthquake in Japan, Morales plays with drama and emotion, creating a fragmented image which symbolically reflects the earthquake that he witnessed. Both pieces however, are sobering reminders of the immense power our Earth has over man-made constructions.

-Anna Paluch

gregmelander:

INFINITE DOTS 
I think I’ve had a dream just like this before. via Don Barnett. beesandbombs

gregmelander:

INFINITE DOTS 

I think I’ve had a dream just like this before. via Don Barnett. beesandbombs

ultrazapping:

Infinite Stairs and Dissected Buildings | Marcin Bialas | Socks Studio

Marcin Bialas is a Polish artist who’s specialized in etchings and drawings in black an white. Among his large production, a recurring theme is dissected buildings and surreal constructions, such as infinite staircases and labyrinthine interiors, an atemporal combination of G.B. Piranesi and Brodsky/Utkin prints. The structures seem unfinished, yet already in ruin, able to plunge the viewer into an uncomfortable feeling. Somewhere between nightmares and theatrical settings, Marcin Bialas’ retro drawings explore the dramatic potential of different projections and points of view.

(Source: ryanpanos)

collectori:

via: http://lecontainer.blogspot.pt

collectori:

via: http://lecontainer.blogspot.pt

artandsciencejournal:

Local Coverage - PUSH: The New Printmakers

Contemporary printmaking practices live in an in-between space. As a medium, it is caught between its history and its relevance as a mode of expression. Printmaking is often thought of as a dying art, sometimes involving complicated processes and machinery that are no longer being manufactured. But, the relevance of printmaking as an art form is still present, as is shown by a new printmaking exhibition being held at Studio Sixty Six in Ottawa.

PUSH: The New Printmakers brings together several artists specializing in different types of printmaking. The works are comprised of linocuts, screen printing, woodcuts and relief prints.The artists included in the show are Melissa Blackman, Delphine Sullivan, Dante Penman, Claudia Gutierrez, Tegan Alston, Stéphanie St-Jean Aubre and Kimberly Edgar, all graduates from the Ottawa School of Art. While all the works are tied together by their medium and their black and white palette, each artist’s oeuvre addresses different artistic preoccupations, ranging from issues of identity, the idea of the specimen, to the relationship between landmarks and memory. 

For those who are interested in checking out the show, it will be open until June 26th. Click here for more information.

If you are interested in seeing interviews with the artists and gallery owner, click here.

-Lea Hamilton