Originated from Denmark and now lives in New York City.
Originated from Denmark and now lives in New York City.
This is the flashlight animation PIKA PIKA taken in 5th August, 2006 at CAPHOUSE. They did it as a workshop with the entrants in the 6th art summer school and they take fantastically lightning pictures with the big fireworks.
The things one finds wandering in a landscape: familiar things and utterly unknown, like a flower one has never seen before, or, as Columbus discovered, an inexplicable continent;
and then, behind a hill, as if knitted by giant grandmothers, lies this vast rabbit, to make you feel as small as a daisy.
The toilet-paper-pink creature lies on its back: a rabbit-mountain like Gulliver in Lilliput. Happy you feel as you climb up along its ears, almost falling into its cavernous mouth, to the belly-summit and look out over the pink woolen landscape of the rabbitís body, a country dropped from the sky;
ears and limbs sneaking into the distance; from its side flowing heart, liver and intestines.
Happily in love you step down the decaying corpse, through the wound, now small like a maggot, over woolen kidney and bowel.
Happy you leave like the larva that gets its wings from an innocent carcass at the roadside.
Such is the happiness which made this rabbit.
i love the rabbit the rabbit loves me.
After almost 5 years of knitting the rabbit found its final place in the italian alps (close to Cuneo). It waits there to be visited by you. You might even take your time or check back every now and then as the rabbit will wait for you 20 years from now on.
Menno Wittebrood once again proves that the Netherlands is home to a fantastic breed of creative individuals.
Max Streicher is a sculptor and installation artist from Toronto. Since 1991 he has worked extensively with kinetic inflatable forms. He has exhibited his work across Canada in numerous public galleries and artist-run centres. He has completed several site-related projects, most recently in Venice, Siena, Stockholm and Erfurt, Germany. He was a founding member of the Nethermind collective of artists which organized four large exhibitions in alternative spaces in Toronto between 1991 and 1995.
Inflatables have had an important place in my work since 1991. In most of these sculptures and installations I have used industrial fans and simple valve mechanisms to animate sewn forms with lifelike gestures. My use of light and papery materials, like Tyvek (and more recently nylon spinnaker), has been significant to the character of their development, specifically to my focus on movement. The weightlessness of this material allows it to respond with surprising subtlety to the action of air within it. I use air to animate my work because it provides an effortless naturalism. It not only looks right, it feels right, recollecting our sensation of breath.Inflatables are the medium of enchantment, fantasy and optimism, but things do go wrong. Take the Hindenburg, for example. Macy’s Parade balloon characters occasionally crash into the crowd. In my work the distress behind the whimsy takes different forms. Scale is one factor. My giants, for example, are intended to overwhelm. In contrast to similar commercial counterparts, they are out of control. They appear to struggle, but why and to what end? However that sense of disruption is read also depends on what the individual viewer brings to the work. For some, gasping for breath, endlessly straining to rise, portray an image of playfulness, and even resurrection, while for others it is distinctly an image of torture. Both cases however involve physical empathy, a bodily recognition of the elemental—powerful and tenuous—forces that animate us all.
Artist and curator Sutapa Biswas is of Indian origin and has studied Fine Arts in several different UK universities. Her photographs, strongly marked by a recurring bodily presence, explore themes of dislocation and individual identity, referring to her own experience as an international curator based in London.
Stina Persson has lived, studied and worked in Tokyo, New York, Florence and Lund, Sweden, where she was born. She says her illustration style is basically about “finding the right balance between the edgy and the elegant the raw and the beautiful.” To achieve this, she uses ink, watercolor and gouache, as well as Mexican cut paper (used at ceremonies and festivals). Recent projects include the poster for the musical Billy Elliott, the cover for the magazine Flaunt and a summer campaign for Absolut. She is featured in Laird Borelli’s new book “Fashion Illustration Next”, Pao & Paw’s “Clin D’Oiel” as well as the Italian book “Fashionize” by Delicatessen. Stina now lives and works in Stockholm with her journalist husband and son Astor.
Stina’s work has appeared in many publications, including Elle (UK, Swe, Greece, Brazil) , Flaunt, Marie Claire (US, UK, Spain), Nylon, Jane , AMICA (Ger), übersee (Ger), CosmoGirl, Io Donna, Travel & Leisure, Gourmet (Swe), Self , Madame (Ger).
Among Stina’s corporate clients are Absolut Vodka, Godiva Chocolatier, Atlantic Records, Macy’s Department Store, Bloomingdale’s, UNIQLO, American Eagle Outfitters, The Creative Partnership, Volvo Japan, Franco Sarto Shoes, 2K T-shirts, Björn Borg Clothing, DKNY, Ballentine’s Mumm Lillet brand of liquor, Goldwell Styling products, and the Swedish Broadcasting Corporation.
It’s like sex, cigarettes, moshing and grinding, and rock and roll have revived from all of these vintage photographs.
All thumbs up.
Photographer Sue Rynski is a cult figure of the pre-punk/punk rock scene, which she documented during 1977-82 in Detroit. Trained in Paris, at Rhode Island School of Design, and at University of Michigan, she found artistic inspiration in the re-emergence of powerful, original rock music. The transfer of energy from performer to photographer is evident in her work, which captures movement and emotion live and up close.
Rynski was chief photographer for the legendary White Noise magazine, Paul Zimmerman and Jerry “Vile” Peterson’s first Detroit publication. Her photos also appeared in the local, national, and international music and mainstream press, as well as being in demand by the bands. She was nominated for Best Photographer in the first Michigan Rock Awards. In 1983-84, she briefly took the stage herself as lead singer of psychedelic pop rock band Batteur Attaqué.
She believes that music is a precious cultural and artistic heritage, especially Detroit’s original music. Her photo archives preserve a highly creative era in rock history. Artists photographed include Detroit’s own as well as the other well known U.S. and British bands of the period. A selection from Sue Rynski’s archives is exhibited at Detroit’s cpop gallery.
Bring Me the Head of Charlie Brown in an old, ultra-violent student cartoon that takes off on the Peanuts gang, turning them into a cast of savage murders hunting a berzerk, mohawked, Taxi-Driveresque Charlie Brown. (Thanks, Jon!)
Update: Adam sez, “Thought you might like to know that the “Ultra-violent Charlie Brown student film” you posted on Boing Boing was made by Jim Reardon, a Simpsons director who’s currently working on a Pixar project. Another Simpsons director, Rich Moore (who was also a supervising director of Futurama), is mentioned in the credits as one of the voices for Charlie Brown.”
Extracted from http://boingboing.net/