This great new video for Josh Ritter’sLove Is Making Its Way Back Home was directed by Erez Horovitz and involves the meticulous animation of over 12,000 laser-cut pieces of construction paper. Via Etsy:
A team of nearly twenty artists, editors, directors and product assistants ushered the video into being. The group started with storyboarding and computer animation before converting the digital graphics to paper cutouts (frame by frame), photographing those 12,000 cutouts and then stitching them together into four minutes of paper animation.
You can learn more about how it was done and see some great behind the scenes shots on Josh Ritter’s blog. (via etsy)
I’m digging the wacky mirrored approach used in this new video for French musician Yuksek produced by the clever team over at SoLab and directed by Romain Segaud. The creation of typography and faces using reflections was inspired, and I also love that the making of video is the exact same shots revealing the missing off-stage production. (via fubiz)
A number of decidedly unsettling portraits from Hamburg-based photographer Carsten Witte from his series Intuition (nsfw). Of the series he says: “One main idea behind my work is the belief that everything is constantly changing but photography can preserve the moment. Beauty is almost nothing without the knowledge of how fast it will fade…” (via behance)
A few days ago I happened upon a rather unique art project called Last New Year in the Austin American Statesman, showing photos of a dilapidated home recently transformed with a number of installations by a small arts collective called Ink Tank. The premise for the project was fascinating: the ensemble imagined a fictional group of people living in the home who would react to the prophesied end-of-times 2012 date. One of my favorite pieces from the show is a giant installation called The Purge by artist Chris Whiteburch who decided to imagine how the house itself would confront the impending doom. The result is a structure purging its contents, all manner of debris and structural material shooting violently through a window into a giant wooden splash.
One of the most fascinating things about this project to me was its similarity to Inversion House, another modified house installation created by sculptors Dan Havel and Dean Ruck in 2005, roughly 150 miles east in Houston. The resemblance is uncanny in that they are essentially exact opposites. Via phone Whiteburch says the similarity is purely coincidental and that he wasn’t even aware of Inversion House until somebody mentioned it after seeing his work. Unfortunately the Last New Year has been taken down, but you can see more images over on Ink Tank’s website. I want to thank both Chris and photographers Julie and Adam Schreiber for providing the imagery for this post.
Step by step this massive snow drawing was trampled into freshly fallen snow by artist Sonja Hinrichsen with the help of 5 volunteers last month at Rabbit Ears Pass in Colorado. I love that a piece so expansive and yet so temporary can be created with a few pairs of well choreographed snow boots. If you like this, also check out the beach drawings of Jim Denevan. The photos above are by Cedar Beauregard and you can see many more here. (via reddit)
Update: It turns out Hinrichsen completed another piece just a week later. Check out the video below.
Update: Want even more snow drawing madness? Don’t miss the work of Simon Beck.
Street Art Utopia just posted an enormous collection of work by street artist Sam3 spanning the last few years but includes a number of pieces I’d never seen before. If you like what you see, also check out his blog and maybe pickup some stuff in his shop. (via street art utopia)
This giant tornado of piggybacked men is an installation by Korean artist Do Ho Suh that is currently on display at Western Washington University (photographs above depict it in alternate configurations). Via Western:
“‘Cause & Effect’ evokes a vicious tornado. This vast ceiling installation is a composition of densely hung strands that anchor thousands of figures clad in colors resembling a Doppler reading stacked atop one another,” said Do Ho Suh, adding that the artwork is a “physical realization of existence, suggesting strength in the presence of numerous individuals. The work is an attempt to decipher the boundaries between a single identity and a larger group, and how the two conditions coexist.”