Dripping of sculptures by Adrien Coroller
Adrien COROLLER is an artist who likes to play with wood and its aspects to contradict the physical characteristics.
He made 2011 a series of sculptures called Heartwood, the heartwood is the internal part of the wood, corresponding to the increase in the oldest areas formed, no longer contain living cells. Also called “heart wood” or “heartwood”, it is a hard wood, compact, dense, dry rot.
This is in contradiction with all these qualities and fun that the artist gives us the impression that his wooden frames are melting as if they were made of chocolate.
"Every act of creation is first an act of destruction."
Watch a (mesmerizing) painting demonstration to learn about the different properties of green pigments bound in egg tempera and those mixed with oil, and see how these were used to achieve very different effects in masterpieces from the National Gallery’s collection.
This film accompanies the National Gallery exhibition ‘Making Colour’ (18 June - 7 September 2014).
The New Inspiration Pad by Marc Thomasset
According to Rollercoaster Tycoon, this is what two thousand people drowning at once looks like.
Tim Taylor - Domestic Erosion, 2003
⇧Ctrl/⌘Pwr (ShiftControl/CommandPower) utilizes digital technology to confront environments otherwise difficult for women to navigate. Digital media and green screens allow me to build my own atmosphere to reveal the violent nature of public space. I grant myself the right to inhabit these situations safely by inserting my nude self into the intersections of oppression I experience as a queer Latina. This performance is a critical response to my life as a woman on the streets of San Jose and a reaction to everyday sexism and rape culture. The large-scale video installation uses the backdrop of San Jose at night to confront public space, objectification, and street harassment.
In video loop, I dress myself in reverse slow motion, exploring the spectacle of garments as a mechanism to reveal and conceal. This references clothing as a tool for security and resistance against the gaze, while highlighting its ultimate inefficiency. The social construct of women as objects becomes the culprit for female insecurity. Clothing and skin are not the consequence of female vulnerability, and whether one is nude or clothed, the intrusive gaze is ever-present. The audience is made aware of this through constant eye contact in an effort to threaten thoughtless titillation and evoke confrontation. I “gaze back,” as Carrie Mae Weems calls it. I deflect objectification and envelop the viewer in a threatening environment by utilizing a robotic female voice, confrontational hashtags, and found sound. Through these acts I hope to illuminate digital performance as a form of self-preservation, empowerment and resistance.
See more of my artwork at ElianaCetto.com
[This digital performance is made to be looped continuously with sound in gallery installations]
"Lots of artists can fill their work with aching homosexual tension, but no one else can make the impending sodomy look quite as classy and exquisitely dressed as Leyendecker can.” - source
Before Rockwell, a Gay Artist Defined the Perfect American Male
"Nobody had to tell J.C. Leyendecker that sex sells. Before the conservative backlash of the mid-20th century, the American public celebrated his images of sleek muscle-men, whose glistening homo-eroticism adorned endless magazine covers. Yet Leyendecker’s name is almost forgotten, whitewashed over by Norman Rockwell’s legacy of tame, small-town Americana.
"Rockwell was just an 11-year old kid when Leyendecker created the legendary “Arrow Collar Man” in 1905, used to advertise the clothing company’s miraculous detachable collars. One of America’s first recognizable sex symbols, this icon of masculinity was defined by his poise and perfection, whether on the sports field or at the dinner table. Like the Gibson Girl, the Arrow Collar Man developed a singular identity, equal parts jock and dandy, who supposedly received more fan letters than silent film heartthrob Rudolph Valentino. To top things off, Leyendecker’s men were often modeled after his lover and lifetime companion, Charles Beach, making their secret romance a front-page feature across the U.S."
- continue reading this article by Hunter Oatman-Stanford in Collectors Weekly.
Additional reading can be found at one of my favorite sites: Gay Influence.
J.C. Leyendecker in 1895.
Objects conservators gathered outside on this sunny day to clean architectural fragments that will be installed in the Sculpture Garden. The fragments come from the exteriors of various buildings in the United States, many from the New York area. Some fragments are made of cast terracotta while others are made from carved stone. They have all spent time in an outdoor environment, which means that they have to be cleaned of dirt, debris, and biological growth that had accumulated on the surface.
Here, you can see conservators cleaning the fragments with brushes made with synthetic bristles, like toothbrushes and dish brushes. In addition to water, a commercial biocide containing a non-ionic surfactant is also used to remove biological growth and dirt. As a last step, all fragments are thoroughly rinsed with water to remove residual cleaning material. They will go on display this summer for the first time.
Posted by Jessica Pace
"It’s Been An Adventure, Mr. Fredricksen."
"Adventure Is Out There!"
Someone asked me to post these two companion pieces together so it was easier to reblog them.
This machine allows anyone to work for minimum wage for as long as they like. Turning the crank on the side releases one penny every 4.97 seconds, for a total of $7.25 per hour. This corresponds to minimum wage for a person in New York. This piece is brilliant on multiple levels, particularly as social commentary. Without a doubt, most people who started operating the machine for fun would quickly grow disheartened and stop when realizing just how little they’re earning by turning this mindless crank. A person would then conceivably realize that this is what nearly two million people in the United States do every day…at much harder jobs than turning a crank. This turns the piece into a simple, yet effective argument for raising the minimum wage.