Brand new ilovedust prints! We were invited down to Portsmouth University to give a talk on branding and before we knew it we ended up in the print room, covered in paint, bashing out these lovely prints. Limited to 30 prints, these were based on food and most were given away to friends in New York...
link: http://ilovedust.com/ ‘The Ride’ is brand new bicycle magazine which is out next week. We were asked to contribute with a couple of illustrations and if your in London next Tuesday 24th they are having a few beers and a little launch party in The Rugby Tavern pub.
Official site coming soon: www.theridejournal.com
Found Here: http://www.highsnobiety.com/the_columns/ilovedust/index.htm
We hit the road last Sunday from Burgundy en route to Carcassonne in the south of France. We took a little detour to check out the Le Viaduc de Millau / Millau Viaduct, which was open to the public in 2005. I thought I’d share some photos.
To cross the viaduct you must pay a toll, which is higher during the summer! The summer rate is: 7.40 euros ($11.62) - and the non-summer rate is 5.60 euros ($8.79).
The actual bridge crossing is supported by the cables attached to the top of each tower, which is why, I supposed, they call it a “Cable-Stayed Bridge.” Probably the most common view of the viaduct is from this viewpoint (above).
The bridge connects the autoroute from Paris to Beziers at the point where it is bisected by the Tarn River, which runs through a wide gorge between two plateaus.
The Millau Viaduct took 4 years to build. It stands 280 meters (919 ft) tall (which is higher than the Eiffel Tower and is considered the highest bridge in the world) - and is 2.5 kilometers long (1.55 miles). It cost €394 million ($619 million) to construct.
Found Here: http://www.whytraveltofrance.com/category/art/
Graffiti artist Neck Face opens his first-ever New York solo show tonight, and his timing (as in Halloween) couldn't be more appropriate. After all, he has already tagged his bloodthirsty goth creatures—beloved by collectors like Beck—from New York to Tokyo, and the exhibit includes eerie metal masks (above), a toddler-sized pair of witch's hands, and sculpted neon-yellow devils. And then there's the show's title and theme: Closed Casket, which is loosely based around the idea of Satan. "I'm inspired by the dark, the blackness of the night, the things you ain't supposed to laugh at, the evil in the world today," he says. (Cue Vincent Price chuckle here.) But consider yourself warned: If you plan on going to tonight's opening, costume is required. Also, Londonist claims to have "unmasked" Banksy, but we're not convinced that blurry, tilted-angle shots taken from a distance really count.
Closed Casket, Oct. 31-Nov. 24, Dactyl Foundation, 64 Grand St., (212) 696-7800, dactyl.org. RSVP for the opening to rsvp@dactyl.org
The face only a mother could love!
Found Here: http://men.style.com/news/blog/2007/10/the-man-with-th.html
by the 20th century's great illustrators and the glories of Art Nouveau, Art Deco, Arts & Crafts, propaganda art and the Pre-Raphaelites, Lee tailors his work to the specific needs and tastes
of his clientele. He excels
in art direction, design, collaboration, and illustration - whether classical, vintage, modern, or post-modern.
Embracing digital media in 1989, Lee swiftly learned to mix traditional and digital painting seamlessly. He spent a decade as a Docent & Naturalist Illustrator at the Smithsonian Museum of Natural History. The New York Times nominated his work for a Webby in 1999.
He lives in Portland, Oregon with his talented photographer wife Annaliese and their dog Lego. He also designs games, sculpts, writes, performs, and plays a mean game of Scrabble.
Found Here: http://thelittlechimpsociety.com/theape/lcs-interview-lee-moyer/
Astronomy Picture of the Day Discover the cosmos! Each day a different image or photograph of our fascinating universe is featured, along with a brief explanation written by a professional astronomer.
Hello world! This is the website of the Swiss typographicdesigner Lorenzo Geiger. Have a look at my werkschau which consists in web design and printed matter with a range from corporate identities, record covers, editorial design and knowledge visualization as well as the design of typefaces.
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I consider my work an invitation to explore the ways we experience our environment. My paintings have realistic elements, but above all an alienating atmosphere. My works in recent years show brightly colored landscapes and weird plant species which I call my ‘psychedelic gardens’.
My inspiration comes from the ordinary things around me, the artist in me just sees things in an unusual perspective. Picture a baker looking at a corn field. He sees bread, cookies and pies. I see shapes, patterns and colors. I like to zoom in on an everyday object such as the pins of a hair brush and imagine a tiny landscape with rows of hairy trees.
I’m a self-taught artist and seek to achieve a high level of craftsmanship. It takes me eight hours just to prepare the surface on my smaller canvases. The oil painting itself can take up to 10 layers to achieve rich colors and a smooth finish.
Found Here: http://www.vanlubeck.com/biography |
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WOW !! A new space on my website !
Here is where I'm going to put photos and tell the stories about the events that are happening
since I'm huge star in the illustration world .
The Baalbek trilithon is a set of three massive stone blocks which are part of the foundation of the Temple of Jupiter Baal ("Heliopolitan Zeus") in Baalbek. They are so large that people cannot imagine how they were cut and transported to the site. As impressive as these three stone blocks are, though, there is a fourth block still in the quarry which is three feet longer than the blocks in the trilithon and which is estimated to weigh 1,200 tons. Locals have named it Hajar el Gouble (Stone of the South) and Hajar el Hibla (Stone of the Pregnant Woman), with the latter apparently being the most popular.
In the two photos above you can see just how large it is - if you look closely, each image has one or two people on the stone to provide reference. The stone is at an angle because it was never cut away. Although we can see that it was cut to be made part of the Baalbek site, it remains attached at its base to the underlying bedrock, not unlike a plant which still has roots in the earth. No one knows how such a massive stone block was cut so precisely or how it was supposed to be moved.
As with the trilithon, it's common to find people claiming that since we don't currently know how the ancient engineers accomplished this or how they planned on moving this massive block to the temple site, that therefore they must have employed mystical, supernatural, or even extraterrestrial means. This is just nonsense, however.Presumably the engineers had a plan, otherwise they would have cut a smaller block, and an inability to answer the questions right now simply means that there are things we don't know.
Found Here: http://atheism.about.com/od/religiousplaces/ig/Baalbek-Temples-Lebanon/Baalbek-Stone-Pregnant-Woman.htm
Baalbeck is a city in eastern Lebanon famous chiefly for its magnificent, excellently preserved Roman temple ruins. It was a flourishing Phoenician town when
the Greeks occupied it in 331 B.C. They renamed it "Heliopolis" (City of the Sun) .
It became a Roman colony under the Emperor Augustus in 16 B.C..On its acropolis, over the course of the next three centuries, the Romans constructed a monumental ensemble of three temples, three coutyards, and an enclosing wall built of some of the most gigantic stones ever crafted by man. Some tourists believe that the construction can only be attributed to extra-terrestial artwork .
At the southern entrance of Baalbeck is a quarry where the stones used in the temples were cut. A huge block, considered the largest hewn stone in the world, still sits where it was cut almost 2,000 years ago. Called the "Stone of the Pregnant Woman", it is 21.5m x 4.8m x 4.2meters in size and weighs an estimated 1,000 tons.
Found Here: http://www.world-mysteries.com/mpl_5.htm
Falero was born in Granada, Spain and studied in Paris, working as a portraitist. He settled in London in the 1880s, dying there in 1896 at the age of 45. Falero specialised in the female nude in a mythological or fantasy setting.
Typical titles include 'Muse of the Night', 'The Minstral's Dance', 'Iris' and 'The Zodiac'.
Found Here:
http://www.artmagick.com/pictures/artist.aspx?artist=luis-ricardo-falero
Well, my name is Michael Rea. 32, brown hair and eyes, 6', about 190 lbs. , and I like long walks by the beach. I am a sculptor from the South suburbs of Chicago. I currently reside in Milwaukee. I am desperately working on an exit strategy for myself. Wisconsin is slowly crushing my soul. Why you should care, is beyond me.
As a beginner I worked primarily as a painter, and it seems that everyone in painting will tell you to go bigger. So I guess I followed their advice and started making large-scale paintings. When I switched to making sculptures, about three year out of undergrad, I wanted to make things that were human in scale. More specifically my scale. I rarely sketch I simple start cutting something out. In most cases I will refer to my body to gage the scale. When I started, I built everything in an apartment I had in Chicago. Things became cramped very quickly. I had to put my bed in a closet. Shortly after switching to sculpture I left Chicago to attend graduate school. I think it might have been a mixture of the competitive atmosphere of graduate school and a large studio that really pushed me into what you refer to as an epic scale. A friend of mine has a pet python. I remember when he first got it; it was a little bigger than a worm. I asked him "how big will it get?" He replied, "lets just say you won't lose it in the lawn." I guess I want to make things that don't get lost in the lawn.
Well, I start. It's as simple as that. I start at one end and work through the composition. I try to use cheap materials: pine, mahogany-luan, rope, burlap, and pink foam. This way I tend to get the most bang for my buck. I real don't plan anything. Yes I have an idea of what I want or what I am going to make but that's about it. It's a very linear process, much like drawing. I am never sure how much something will cost in the long run. If I did, I might worry. So I have about a hundred dollar a month wood habit. Since I quit smoking it has been really easy to afford supplies. The real problem is moving these pieces around. Shipping is expensive, and in most cases I have to drive the work out myself. The largest vehicle I can legally drive is a 25' truck. The twenty-five footer is a nightmare. The only thing that really kills me is the cost of gas and truck rentals. Building time and materials are not really an issue for me.
I guess there are limitations, but the grass is always going to be greener somewhere else. It seems a little harder to sell large sculptures than lets say a work on paper, but if sales were driving me I probably wouldn't be an artist. I am not saying a sale or two wouldn't hurt. In fact I do sell a lot of the smaller pieces I make, which is great. I hope that someday there will be a market for the larger works, but I will have to wait and see how that plays out. There always seems to be a lot of support for large work in residencies and as a visiting artist. I like the idea of traveling somewhere and building something huge and leaving. All you need for that is a plane ticket. I have also found that large bold pieces tend to attract a lot of attention and this has helped a lot with getting more shows and and creating new opportunities. I really cannot complain. It seems every year I show a little more, and a little less comes out of my pocket. That's about all you can ask for.
A few, but for the most part I have been lucky and or smart. The key is to keep your finger away from the spinning blade. The worst accident I have had is I once shot a brad nail through my pointer finger. I was shooting down into the cross cut of a doll rod with a 1,1/4" Brad. The dowl was about the same in diameter. and a little less in length. The nail fish-hooked out and went right into the finger holding the rod in place. The nail entered the pad and exited under the nail bed. When I felt the impact I pulled my finger away. This worked well since I did not have to think about removing the nail it just sort of happened. I had not realized at this point, that I had shoot right through my finger. I looked at the palm side of my finger and wondered how deep the nail had gone. This is when I noticed that the other side was bleeding as well. Can you believe I didn't even get vicodin for that?
What kinds of things influence your work, besides Indiana Jones?
Well motion pictures in general are a big source of inspiration for me. I have always enjoyed how people will quote lines from a movie. I like how for a few seconds the line between fiction and reality is blurred. I tend to like horror and science fiction films the most. I also like to think about time travel from time to time. Television is a big thing for me as well. I love inappropriate jokes, and I like to incorporate humor into a lot of my pieces as well. Music is good. I tend to spend long hours building and when things are not to loud I listen to music. As I said earlier, I do not start with a plan. This creates an opening to develop or change an idea while I am building. While I am working on a project I am constantly absorbing the world around me and my
Fergie, MIA, Folkert de Jung, Ben Stone, No Country For Old Men, Soft Pretzels, Peroni, Jens Lekman, Battlestar Galactica, Lost, Cloverfield, Jaws, Lolita, the 27th directors cut of blade runner, thongs, Alex Katz, Robert Morris, Hey Willpower, Paris Hilton, Klarbrunn water, Paul McCarthy, Grind House (in the theater)
Found Here: http://www.fecalface.com/SF/index.php?option=com_content&task=view&id=1015&Itemid=92
Trombonist Floyd Miller teamed with Tom Lockett Jr. (sax, keyboards), Carter Bradley (keyboards), Mark Adams (bass), Mark Hicks (lead and rhythm guitar, lead and background vocals), Danny Webster (rhythm guitar, lead and background vocals), Orion Wilhoite (sax), and Tim Dozier (drums). Vocalists Steve Arrington, Starleana Young, then Curt Jones came aboard in 1978, with Arrington ultimately becoming lead vocalist. Their first big hit was the single "Slide" in 1977 for Cotillion Records, where they remained until 1984. Their best work was usually based on bass licks and the band's general arrangements emphasis on the rhythm section and soaring lead vocals.
Other Top Ten R&B hits were "Just a Touch of Love" in 1979, "Watching You" in 1980, and "Snap Shot" in 1981. They added Charles Carter on sax and brother William P Carter on keyboards. Young, Washington, Jones and Lockett departed to form Aurra in 1981. Slave added Roger Parker, Sam Carter, Delburt Taylor, and Kevin Johnson as replacements. Arrington himself left in 1982 after the Showtime album. They continued on, though much less successfully, into the late 1980s.
They moved to Atlantic Records for one LP in 1984, then switched to the Atlanta-based Ichiban Records in 1986. Their most recent release was The Funk Strikes Back in 1992. Rhino issued Stellar Fungk: The Best of Slave Featuring Steve Arrington, an anthology of their finest cuts, in 1994.
