Hello, this an art blog consisting of both historical and contemporary artworks with a dark edge. I do not own any of the images I post.
”Restless Violence”, 2011
”In God we Trust”, 2011
"You gently ripped me to shreds", 2013
"Praying for time", 2012
"We Fit Together like Fingers Making a Fist," 2013
"Tolerance", 2013 White Bronze
"I want to shelter you", 2013”
I left to remain incomplete” ,2010
"Do you love me", 2013 White Bronze
Flag #10, 2008
Reworking traditional materials into contemporary textiles, Sara Rahbar mines her Iranian-American cultural heritage to explore issues of memory, identity, and dislocation. Born in Tehran, Rahbar and her family were forced to leave during the upheaval in the country following the Iranian revolution. Rahbar’s flag series (2005–11)—collaged textile incarnations of American and Iranian flags that include fragments of fabrics, carpets, and fringes—has gained her international recognition. “I began as a painter,” she has said, “and I still feel like a painter—only now it’s with textiles.” For her “War Series” (2008–10), she created collages with military paraphernalia such as holsters, bullets, and water canteens. Rahbar has also produced sculpture and photography.
Ghostly installation for St George’s church by artist Jakub Hadrava in the Czech village of Lukova
William Faulkner, during an interview with Jean Stein (1956)
Snowchild, top, a young girl lies sleeping as hawks gather around her, and here the child is inseparable from the wild world. Both works are crafted from white kiln-forged glass that looks almost like Carrera marble, giving them a classical aura that contrasts with their psychological vibe. In the wall pieces, children often appear connected to each other by sinuous magenta vines or silver branches, visual effects that reach their most elaborate fruition in her magical bell jar series. In White Hawk 3, two hawks appear under a grape -like cluster of icy clear glass, and only from certain oblique angles can a child’s face be seen in the dome’s mirrored rear surfaces. In these and other works, Peretti’s children suggest near-mythical creatures whose profound silences enable connections with wild nature and its equivalents in the deep recesses of the poetic imagination.
Creative Sculptures by Hedi Xandt
Hedi Xandt imagines impressive sculptures. Mixing styles and materials with talent, the artist invites us to discover his dark and intense universe.
"Coming Out of the Medicine Cabinet" by Judith G. Klausner
Georgia Russell: ‘yann ‘ art created with a scalpel
is a Scottish artist who slashes, cuts and dissects printed matter, transforming books, music scores, maps, newspapers and photographs into patterned abstractions that leave a resemblance of the original but transport it to another time and place where everything is fragmented, and always in flux.
Light Painting with 1,871 Slices of a Corpse by Frank Schott
Joseph Paul Jernigan was a Texas murderer who was executed by lethal injection. His body was then sliced into 1,871, 1mm cross sections, digitized and has now been used to create eerily stunning photographs.
This animation represents the entire data set (1,871 slices) of the male cadaver from the Visible Human Project. The animation was played fullscreen on a computer, which was moved around by an assistant while being photographed in a dark environment. The resulting images are long-exposure “light paintings” of the entire cadaver. Variations in the movement of the computer during each exposure created differences in the shape of the body throughout the series. The project has been named 12:31, which was the time of death (by lethal injection) for Joseph Paul Jernigan.
This animation represents the entire data set (1,871 slices) of the male cadaver from the Visible Human Project. The animation was played fullscreen on a computer, which was moved around by an assistant while being photographed in a dark environment. The resulting images are long-exposure “light paintings” of the entire cadaver. Variations in the movement of the computer during each exposure created differences in the shape of the body throughout the series. Light Painting with 1,871 Slices of a Corpse
Croix Gagnon (concept and art director), Frank Schott (photographer) and Alex Katz (post production) used a combination of night photography and long-exposure photographs of the animation below.
Watch the video:
Art is a passion on We Heart It.