Monday, March 30, 2009

Via Grafik Sculptures

Via Grafik is both a graphic design studio and an art collective based in Wiesbaden, Germany.

Working in the fields of graphic design, motion design, art direction and illustration, we are interested in developing design solutions at a unique visual level. Our aim hereby is to provide the best suitable design for the specific content of each individual project, wheter it be large or small.

The realisation of art projects increases our range of experience from which we richly profit on the creative process for commercial projects.

Our clients come from industries such as music, culture, art, and advertising as well as youth culture oriented brands. We work for clients like Nike, Adidas, Nintendo, MTV, VIVA, Junges
Staatstheater Wiesbaden, We the People.

Saturday, March 28, 2009

Hopper, Edward (1882-1967)

Hopper, Edward
(1882-1967). American painter, active mainly in New York.

He trained under Robert Henri, 1900-06, and between 1906 and 1910 made three trips to Europe, though these had little influence on his style. Hopper exhibited at the Armoury Show in 1913, but from then until 1923 he abandoned painting, earning his living by commercial illustration. Thereafter, however, he gained widespread recognition as a central exponent of American Scene painting, expressing the loneliness, vacuity, and stagnation of town life. Yet Hopper remained always an individualist: `I don't think I ever tried to paint the American scene; I'm trying to paint myself.'

Paintings such as Nighthawks (Art Institute of Chicago, 1942) convey a mood of loneliness and desolation by their emptiness or by the presence of anonymous, non-communicating figures. But of this picture Hopper said: `I didn't see it as particularly lonely... Unconsciously, probably, I was painting the loneliness of a large city.' Deliberately so or not, in his still, reserved, and blandly handled paintings Hopper often exerts a powerful psychological impact -- distantly akin to that made by the Metaphysical painter de Chirico; but while de Chirico's effect was obtained by making the unreal seem real, Hopper's was rooted in the presentation of the familiar and concrete.

American scene painting

Edward Hopper painted American landscapes and cityscapes with a disturbing truth, expressing the world around him as a chilling, alienating, and often vacuous place. Everybody in a Hopper picture appears terribly alone. Hopper soon gained a widespread reputation as the artist who gave visual form to the loneliness and boredom of life in the big city. This was something new in art, perhaps an expression of the sense of human hopelessness that characterized the Great Depression of the 1930s.

Edward Hopper has something of the lonely gravity peculiar to Thomas Eakins, a courageous fidelity to life as he feels it to be. He also shares Winslow Homer's power to recall the feel of things. For Hopper, this feel is insistently low-key and ruminative. He shows the modern world unflinchingly; even its gaieties are gently mournful, echoing the disillusionment that swept across the country after the start of the Great Depression in 1929. Cape Cod Evening (1939; 77 x 102 cm (30 1/4 x 40 in)) should be idyllic, and in a way it is. The couple enjoy the evening sunshine outside their home, yet they are a couple only technically and the enjoyment is wholly passive as both are isolated and introspective in their reveries. Their house is closed to intimacy, the door firmly shut and the windows covered. The dog is the only alert creature, but even it turns away from the house. The thick, sinister trees tap on the window panes, but there will be no answer.

Friday, March 27, 2009

Cloud Gate by Anish Kapoor

Chicago’s Millenium Park features two incredible pie
ces of public art that are worth seeing in person - Cloud Gate and The Crown Fountain. (
Photos by Carly Haffner and text by Don Porcella

Anish Kapoor’s Cloud Gate in Chicago’s Millenium Park. The 110-ton elli
ptical sculpture is forged of a seamless series of highly polished stainless steel plates and was installed in July 2004.

Looking up through the middle of Cloud Gate. A visual Vortex is created where the viewer seems farther away than possible. The small group of people in the center circle is the reflection of the viewer and the people around the viewer, looking up.

A fun house mirror effect is created under and around the whole sculpture. Viewer’s delight in seeing themselves reflected and distorted.

Because of it’s highly polished and reflective surface, the viewer becomes the art. Cloud Ga
te’s adornment is the surrounding environment. Whatever surrounds Cloud Gate defines the sculpture at that moment. In that way it is emblematic of its environment and at the same time ever changing.

Found Here:

Cloud Gate is a public sculpture by British artist Anish Kapoor. It is the centerpiece of the AT&T Plaza in Millennium Park within the Loop community area of Chicago, Illinois, and is located on top of Park Grill and adjacent to the Chase Promenade. The sculpture was constructed between 2004 and 2006 and was temporarily unveiled in the summer of 2004. Nicknamed "The Bean" because of its legume-like shape, its exterior consists of 168 highly polished stainless steel plates. It is 33 feet by 66 feet by 42 feet (10 m × 20 m × 13 m), and weighs 110 short tons (99.8 t; 98.2 long tons). The sculpture and the plaza are sometimes referred to jointly as "Cloud Gate on the AT&T Plaza" or "Cloud Gate on AT&T Plaza".

Cloud Gate has become a very popular sculpture that is known worldwide. Inspired by liquid mercury, the sculpture's exterior reflects and transforms the city's skyline. Visitors are able to walk around and under Cloud Gate's arch, which is 12 feet (3.7 m) high. On the underside of the sculpture is the omphalos, a concave chamber that warps and multiplies reflections. The sculpture builds upon many of Kapoor's artistic themes, although many tourists simply view the sculpture and its unique reflective properties as a photo-taking opportunity.

The sculpture was the result of a design competition. After being chosen, numerous technological concerns regarding the design's construction and assembly arose, in addition to concerns regarding the sculpture's upkeep and maintenance. Various experts were consulted, some of whom believed the design could not be implemented. Eventually, a feasible method was found, but the sculpture fell behind schedule. It was unveiled in an incomplete form during the Millennium Park grand opening celebration before being concealed for completion.

Found Here:

Thursday, March 26, 2009

Pergamon Altar

The Great Altar of Pergamon, a massive stone podium about one hundred feet long and thirty-five feet high, was originally built in the 2nd century BCE in the Ancient Greek city of Pergamon (modern day Bergama in Turkey) in north-western Anatolia, 25.74 kilometers (16 miles) from the Aegean Sea. The Great Altar of Pergamon has figured in lists of the Wonders of the World.[1]

It has long been assumed that the magnificently-scaled and opulently decorated open-air altar— for it is not a temple[2] was dedicated to Zeus.[3] The altar appears to be mentioned in the Book of Revelation, Revelation 2:12-13: "In Pergamos where Satan's Throne is".[4]. The only lengthy reference to it in Antiquity is in the Liber Memorialis of Ampelius (8.14), where it is described as "a large marble altar, forty feet high with a great many sculptures, among which a Battle of the Giants."

"Political considerations at Pergamon made it necessary to glorify the civic and religious center of the small city-state", Herbert Hoffmann observed in 1952. "The high podium served to impress the exalted position of the altar, situated as it was on a high elevation, upon foreign visitors as they approached along the plain to partake in the biennial festival of Athena Nikephoros".

Some fragments from the frieze (the back view of a Giant, probably from Worksop Manor, and a dead giant, found at Fawley Court have been identified), perhaps collected by William Petty, were part of Thomas Howard, Earl of Arundel's collection of Antiquities at Arundel House, Strand, London, but rejected, as too weathered, for inclusion in the gift to the Ashmolean Museum.[5] However, the main excavation was carried out in two campaigns, in 1879 and 1904, and shipped out of the Ottoman Empire by the German archaeological team lead by Carl Humann; it was reconstructed in the Pergamon Museum in Berlin, built in part to receive it, from 1910, where it can be seen alongside other monumental structures such as the Market Gate of Miletus and the Ishtar Gate from Babylon.

The Altar has a 113 metre (371 feet) long sculptural frieze depicting the gigantomachy, or struggle of the gods and the giants. "the frieze is composed of a sequence of isolated, tightly-knit and self-contained groups and figures" each unit assigned to one workshop. Many inscriptions on the lower moulded margin identify the sculptor responsible and his city.[6]

Sunday, March 22, 2009

Dazzle Camouflage WWI Battleships

Dazzle camouflage, also known as Razzle Dazzle or Dazzle painting, was a camouflageships, extensively during World War I and to a lesser extent in World War II. Credited to artist Norman Wilkinson, it consisted of a complex pattern of geometric shapes in contrasting colors, interrupting and intersecting each other.Dazzle is a disruptive type of camouflage used in World War I to camouflage ships against German U-boats. The disruptive design resembled Cubist paintings and confused German U-boats on the speed and direction of a ship. paint scheme used on

During 1917 and 1918 Maurice L. Freedman was the District Camoufleur for the U.S. Shipping Board in Jacksonville, Florida. He was in charge of dazzling merchant ships. After the War, he came to RISD to study drawing and painting and decorative design. While at RISD he donated over 400 plans and 20 photos of the dazzled ships.

The top-secret nature of camouflage during World War I has made Dazzle one of history's hidden gems, and a collection of Dazzle Camouflage drawings and photographs have recently been rediscovered at RISD. It is believed the RISD collection is one of only two in the United States (the other is at National Archives in College Park, Maryland). Identifying the collection has inspired the RISD library to host an exhibit and symposium.

For many years RISD was not aware of its treasure trove. Identifying this collection has inspired the Library to have this exhibit and symposium. The "Artists at War: Exploring the Connections Between Art and Camouflage" Symposium will examine the questions surrounding the relationship of art and camouflage.

The symposium will be in the Michael P. Metcalf Auditorium in RISD's Chace Center and is free and open to the public on February 14, 2009 from 2-4 pm.

Sunday, March 15, 2009

Frank Auerbach Paintings

Frank Auerbach was born in Berlin, to Max Auerbach and Charlotte Nora Burchardt, both of whom had studied art.[3] His parents sent him to England in 1939 to escape the Nazis as part of the Kindertransport programme[4]. (The family was jewish; his parents subsequently died in a concentration camp). He left Germany 7 April 1939, a month before his eighth birthday, to attend Bunce Court, a boarding school for refugees near Faversham in Kent, where he was sponsored by the writer Iris Origo. At Bunce Court, he was already seen as an artistic prodigy, and where his work already showed an expressionistic style. He also distinguished himself there as a stage actor.[1][5] Auerbach has remained in England ever since, taking British nationality in 1947.[citation needed] He studied art at St Martin's School of Art in London and later at the Royal College of Art, but was more strongly influenced by lessons with David Bomberg at Borough Polytechnic, and especially so by Bomberg's exploratory attitude. He also encouraged his St Martin's classmate Leon Kossoff to attend Bomberg's classes.[1]

At 17, while playing a bit part in Peter Ustinov's first play House Of Regrets, he met the 32-year-old Estella Olive West, (generally known as "Stella" but referred to as "E. O. W." in the titles of his works), a widowed amateur actress who ran a boarding house in Earl's Court whose residents at the time included historian and novelist Len Deighton. She would be his lover for the next 23 years (including after his marriage to fellow Royal College of Art student Julia Wolstenholme) and also one of his most-depicted models. With her, he established his pattern of working and reworking paintings, so that some works took hundreds of sittings to complete: "It was quite an ordeal," West later remembered, "because he would spend hours on something and the next time he came he would scrape the whole lot down. That used to upset me terribly. I wondered what I was doing it all for." Their relationship was "often fraught, occasionally bordering on violence"; both agree that the violence was mainly Stella's, but that his work captured that intensity.[1][6]

His paintings of E. O. W. featured in Auerbach's 1955 Royal College of Art graduation show, leading Helen Lessore of the Beaux Arts gallery to give him his first solo exhibition in January 1956. While reviews of that show were mixed, David Sylvester of The Listener declared it "The most exciting and impressive first one-man show by an English painter since Francis Bacon in 1949."[1] Auerbach had five solo shows at the Beaux Arts Gallery between 1955 and 1963.[3][2] (Before Kossoff, the studio had been used by Gustav Metzger, who was also a young Jewish refugee from Nazi Germany.[3]) He was slow to find his artistic bearings again; in nearly two years he produced no paintings, and only 10 drawings. "I somehow felt that what had been private had become public," the Guardian quoted him saying in 2001. "I had put myself into a uniform: there I was, this chap who had done these thick paintings in earth colours."[1] Auerbach married Julia Wolstenholme in 1958; they had one son, Jake; but they broke up over his continuing, passionate relationship with Stella West. They reunited in 1976, after he and Stella had split.[1] While still a student at the Royal College, he took over from his friend Leon Kossoff the Camden studio that has been his base since.

Wednesday, March 11, 2009


If you are unfamiliar with the subject of chemtrails, you should
first read this general overview of the chemtrail spraying operations which began in earnest in late 1997. Without first reading the introductory overview, it's difficult to understand the later informaiton that is being presented here. There are several key points to understand about the chemtrail spraying program.

Most people discover the reality of chemtrails by initially reading about it on the Internet and then going outside and looking up into the sky. They are shocked to realize that what they had been reading about (and studying photographs of) is also taking place right over their heads. What some people had dismissed as mere "jet plane exhaust" (because there are now scores of internet propaganda web sitestrying to convince you that 'everything is well' and 'there's nothing to be alarmed about' and that unaccountable 'jet plane exhaust' plumes are magically being converted into horizon-to-horizon overcasts of "cirrus clouds" !) are dismayed to realize that chemtrails are indeed the toxin-laden aerosols that have been described here and at other web sites since 1998 and they are not being sprayed for any benign or national security reason as the disinformation peddlers would have you believe.

Nothing brings home the comprehension of the New World Order depopulation agenda than the realization that you and your family are also on the "useless eaters" (Henry Kissinger) elimination list.

Shiva the Destroyer Statue at CERN

The statue of Lord Shiva at CERN near the building A40. Given by Department of Atomic Energy, India. [1]

The statue is a gift from India, celebrating CERN's long association with India which started in the 1960's and continues strongly today. Unveiled at June 18, 2004.

Photographed by Arpad Horvath

Indian gift unveiled at CERN: the statue of the Indian deity Shiva was unveiled by His Excellency K M Chandrasekhar, ambassador (WTO Geneva), shown above signing the visitors' book, Anil Kakodkar, chairman of the Atomic Energy Commission and secretary of the Indian Department of Energy, and CERN's director-general, Robert Aymar.

Lord Shiva Statue Unveiled
Inauguration d'une statue du dieu Shiva

23 min. MiniDV / / CERN Copyright 2004
Keywords: Shiva, India
Reference: CERN-VIDEORUSH-2004-05
Language: French

Found Here:
CERN LogoCERN Document Server

Saturday, March 7, 2009

Josh Keyes Paintings

Josh Keyes was born in 1969 in Tacoma Washington. Keyes graduated from the School of the Art Institute of Chicago, and later received his MFA in painting from Yale University. Josh’s work brings to mind the detail and complexity of natural history dioramas, and the color and diagrammatic complexity one might find in cross section illustrations from a vintage science textbook. His work has developed over the past years into an iconic and complex personal vocabulary of imagery that creates a mysterious and sometimes unsettling juxtaposition between the natural world and the man made landscape. The work conveys an anxious vision of what the world might be like in the future as a result of current global warming predictions. Keyes’ interest in creating paintings that fuse realism with the possible often evokes the imagery found in dystopian and post-apocalyptic literature, while other works express the optimism and utopian ideas found in the writings of Buckminster Fuller and Paolo Soleri. Keyes often incorporates objects and animals into his dissected environments that have personal iconographic significance. He weaves his personal mythology through fractured and isolated landscapes that are either overgrown with vegetation or underwater, and often depict historic or military monuments covered with graffiti. The imagery functions as a way for Keyes to express his personal experience and also allows him to comment and interpret events in the world. His work has been featured in numerous publications and exhibited in galleries in New York, San Francisco, Los Angeles, Seattle, and Denver. Keyes currently lives and works in Oakland California.

Found Here: