If Stuntmen from the old movies don’t have your full respect then I just don’t know what to say to you
Yo this so much. At the advent of cinema these people were literally willing to die for their art. It’s crazy, and awesome.
Also if you find this awesome, people go check out a 2006 movie called The Fall, about a 1920’s stuntman’s stay in hospital after a stunt gone wrong.
man things were wacky before color was invented
CARTRIDGES OF HOPE: UNHATE DOVE
24 December 2011 was a special day for the city of Tripoli. The Libyan people celebrated Independence Day for the first time after 42 years and, for the occasion, COLORS magazine donated UNHATE Dove to the citizens: a large, dove-shaped sculpture conceived by Erik Ravelo and coated with more than 22,000 spent bullet cartridges, collected from war scenes all over our planet.
Author and Creative Director: Erik Ravelo/Fabrica
2008- EGG by Chinese Contemporary Artist Wang Ke
Calvin Nicholls (Canada)
What looks like highly meticulous animal carvings are actually multi-layered paper sculptures, created by a Canadian artist Calvin Nicholls. Working on them since 1986, the artist spends from 4 weeks to 2 years on a piece. Before starting the work, Calvin researches the animal to get the musculoskeletal features correct in his drawing. A final drawing becomes a pattern for the pieces that he cuts out with scalpels and x-acto knives. He then assembles the pieces together and uses carefully set studio lighting to get the effect of depth. Calvin has produced over 500 pieces, which were widely exhibited throughout North America. (source: Demilked)
[more Calvin Nicholls]
Fashion Illustrations by Jenny Liz Rome
#ART02 ships in one month!
Aaron Smith. Past the Pillars of Hercules.
Fallalish, 2013.Oil on panel, 48 x 36”.
Gulpy, 2013. Oil on panel, 30 x 20”.
Pother, 2013. Oil on panel, 40 x 30”.
Blinker, 2013. Oil on panel, 28 x 28”.
I locate my paintings, thematically, in the historical moment when the advent of photography began to usurp painting’s primary role in the realistic representation of our collective experience. Working from early photography, which often mimicked the formality and grandeur of Academic Painting, I infuse the images with the formal concerns of Modernism as well as the digital palette of our times. I want to playfully acknowledge the breaking-down of Western Society’s patriarchal and hetero-normative past. Images of stoic Victorian gentlemen are transformed though vivid color and sensual brushwork into exotic, vulnerable creatures of desire.