Infinity Mirrored Room – The Souls of Millions of Light Years Away / Courtesy David Zwirner and Yayoi Kusama Studio Inc.
Infinity Mirrored Room, detail – The Souls of Millions of Light Years Away / Courtesy David Zwirner and Yayoi Kusama Studio Inc.
Love is Calling, 2013. Wood, metal, glass mirrors, tile, acrylic panel, rubber, blowers, lighting element, speakers, and sound. / Courtesy David Zwirner and Yayoi Kusama Studio Inc.
Yayoi Kusama in her 2013 solo exhibition I Who Have Arrived in Heaven at David Zwirner, New York. Courtesy David Zwirner and Yayoi Kusama Studio Inc. Photo: Will Ragozzino.
Courtesy Rebecca Dale Photography
Courtesy Steven Meidenbauer
In an impressive display of new work, artist Yayoi Kusama (previously) recently opened a solo show, I Who Have Arrived In Heaven, at David Zwirner Gallery in New York. Now in her mid-80s, the prolific artist is showing twenty-seven new large-scale paintings, and not one but two of the artist’s famous Infinity Rooms (pictured above). The immersive mirrored environments can be entered by gallery visitors for a vertigo-inducing walk through an infinitely reflected field of stars and organic forms. The collected artwork and installation spaces span all three of David Zwirner’s galleries in Chelsea at 519, 525 and 533 West 19th Street and will be on view through December 21, 2013. Imagery courtesy David Zwirner Gallery, Steven Meidenbauer, and Rebecca Dale Photography. (via designboom)
Japanese embroidery artist Hiroko Kubota was in the process of making custom sized clothes for her smaller-framed son when he made a small request: could some of the shirts have cats on them? Kubota explains her son was somewhat obsessed with cats and had collected a small library of adorable images found around the web.
After making a few cat shirts the artist posted photos of the pieces online and unsurprisingly they quickly went viral, spurring Kubota to open an Etsy shop under the brand Go!Go!5 where she started selling the shirts at an impressive price tag of around $250-$300 apiece. But price was no object for internet cat fanatics and the shirts have been snapped up almost as quickly as Kubota embroiders them.
If I had to spend the rest of my life trapped inside a photograph, there’s a good chance I might flip through a stack of photographs by Andrew Smith (previously) to make a selection. Smith shoots mostly in locations around his home in New Zealand where he captures breathtaking oceanside landscapes both in and out of water. Smith photographs almost exclusively with a Nikon D800 and then processes his images in Adobe Lightroom, something he documents in detail on his Before and After Lightroom Blog. These are some of my favorite shots from the last year or so, but you can see hundreds of additional photos by Smith over on Flickr.
Since late last year Swiss artist Tobias Gutmann has been traveling the world with his portable analog portrait booth dubbed the Face-o-mat. Customers take a seat in front of a small window, much like a photobooth, and then adjust some levers to determine how their portrait will look: color or black and white, natural or facelift, classical or avant-garde. Then, for a small fee, Gutmann works his illustration magic and creates a strange abstract portrait in less than three minutes.
In the last few months the Face-o-mat traveled some 25,000 miles (40,514km) with stops in Stockholm, Milan, Dar es Salaam, Tokyo and London. Gutmann often repaints the facade of the machine to match the local language, and recently rebuilt the entire machine using MDF (Medium-density fibreboard) to make it more durable. You can follow further Face-o-mat adventures on Facebook and you can see some of the over 700 poraits Gutmann has illustrated over on Tumblr. (via Think Faest!)
Part tribute, part conceptual photography, part exploration of costume and set design, Wonderland is an ongoing series of portraits by UK photographer Kirsty Mitchell. After the loss of her mother in 2008, Mitchell found herself in need of a creative outlet to grapple with the emptiness that often follows the death of a loved one. To fill the vacuum, Mitchell began to revisit fragments of fairy tales her mother would share with her as a child and decided to use them as a starting point for a series of elaborate portraits that would make use of her background in fashion design and costume making. The resulting images would form a storybook without words, a sort of visual narrative that people might project their own stories onto.
Everything you see in Mitchell’s photos from the costumes to the sets have been sewn, painted, glued, and assembled completely by hand, requiring up to five months of preparation. By the time of each photoshoot, which generally happens in the woodlands around her home, an elaborate scene has been constructed that the photographer says is akin to a miniature movie set, complete with lighting and assistants, let alone her absurdly patient models.
Now five years later the Wonderland project has practically consumed Mitchell’s life. The photos, which total 69 pictures, have gone thoroughly viral around the web and have opened up entirely new avenues in her artistic career. Mitchell has just announced a collaboration with FX Media, who is helping to shoot a full-length documentary about the final 10 photos in the series, including a 5-minute behind-the-scenes clip detailing the preparation for each image, the first of which, Gaia, you can watch above. Mitchell also recently exhibited with Italian Vogue and was made Nikon UK’s Ambassador of Fine Art Photography in July of this year. You can learn more about her work via her website and get info on limited edition prints here.
Lastly, please do not use Mitchell’s Wonderland images on your billboard, t-shirt, coffee mug or shower curtain without her permission. Seriously. She’s an exceptionally kind person to speak with and will be thrilled to hear all about your amazing ideas for her work. All images above courtesy Kirsty Mitchell. (via PetaPixel)
Created in collaboration with the National Museum of Natural History in Paris, Evolution is an extraodinary collection of images by photographer Patrick Gries that tells the visual story of evolution through 300 black and white photos of vertebrate skeletons. Unlike a textbook approach to photography, the skeletons Gries’ photos appear to have been reanimated, artfully posed and lit in lifelike scenarios resulting in images that are both beautiful and haunting.
In addition to the National Museum of Natural History in Paris, Gries acquired anatomical specimens from numerous veterinary and natural history museums throughout France and Monaco to round out the series of photos that are accompanied by passages from writer and scientist Dr. Jean-Baptiste de Panafieu. Evolution is available through Editions Xavier Barral.
All images courtesy Patrick Gries. (via Photojojo)
Italian artist Pixel Pancho was recently invited by Underdogs to create a number of murals and other interventions in Lisbon, Portugal. One of my favorite pieces was this awesome collab with street artist Vhils (previously), known for his instantly recognizable “subtractive” style of etching imagery into walls. The steampunkish android holding a derelict boat was placed on a building next to the the Tagus river near where it empties into the Atlantic Ocean. Images courtesy Underdogs and Miguel Vinagre. (via StreetArtNews)
Butterfly. 25″ x 14″ x 22″ H. Legs: bike brake parts, pieces of windshield wipers, bike chains. Abdomen: old acetylene light tank. Thorax: car suspension part, small spoon parts, cream chargers. Head: headlights, bike parts. Butterfly trunk: clock springs. Hair: pieces of a typewriter daisy wheel. Antennae: brake cables, drawer knobs.
Rhinoceros beetle. 13″ x 11″ x 6″ H. Legs: bike brake parts, bike derailleur chain, bike chain ring. Head and horn: small bike brake, pieces of a typewriter daisy wheel. Antennae: small bike parts. Thorax: shoe tree, bike Luxor headlight. Abdomen: motorbike light, shell-shaped drawer handles.
Rhinoceros beetle, detail.
Three-spined stickleback. 34″ x 5″ x 13″ H. Body: moped fenders and chain guards. Bones: tablespoons. Gills: car door parts. Fins: cake tins, fish slices, compasses. Tail: motorbike silencer, fish slices. Eyes: flashlights. Head: Solex front fenders.
Moth. 31″ x 16″ x 7″ H. Wings: moped chain guards (rusted and patinated). Abdomen: motorbike headlights. Thorax: very old car headlamp. Legs: large upholstery tacks, car boot hinges, pieces of windshield wipers, bike brake parts, chain guards. Head: old rear position lamps, bike parts, pieces of a daisy wheel. Butterfly trunk: clock springs. Antennae: aluminium heating resistor.
Wasp. 11″ x 6″ x 16″ H. Abdomen: steel tips for boots, bike headlights. Thorax and head: steel tips and bells from bikes and typewriters. Eyes: vintage watch case. Antennae: spectacles arms. Legs: bike brakes, bike chain, spoon handles. Wings: glass.
Red ant. 25″ x 16″ x 9″ H. Thorax and head: sauce spoons, car parts. Eyes: marbles. Abdomen: bike or motorbike headlights. Antennae: small bike chains. Legs: cream chargers, brake parts, chains, alarm clock feet, spoon handles.
Dragonfly. 37″ x 49″ x 15″ H. Abdomen: patinated copper/brass bicycle pump, car horn part, parts of old acetylene bike lights (at the ends). Thorax: two motorbike rear lights, shell-shaped drawer handles, big upholstery tacks. Head: car or lorry old stop lights, parts of acetylene bike lights, parts of a daisy wheel for typewriter (hair from the mouth). Legs: tubes, bike cable guide, wing nuts, wire. Wings: umbrella ribs, wire, wire netting for hen coops.
When looking at these perfectly assembled sculptures by French artist Edouard Martinet (previously) it’s difficult to believe the raw materials he used ever existed in another form. Yet every head, thorax, leg, wing, and eye from these assorted creatures was once part of a car, bicycle, typewriter, or other found object. Reading through his material lists it becomes clear how completely thorough and judicious Martinet is in selecting the perfect objects to realize his vision, truly a master of his craft. Via Sladmore Contemporary:
His degree of virtuosity is unique: he does not solder or weld parts. His sculptures are screwed together. This gives his forms an extra level of visual richness – but not in a way that merely conveys the dry precision of, say, a watchmaker. There is an X-Factor here, a graceful wit, a re-imagining of the obvious in which a beautifully finished object glows not with perfection, but with character, with new life. Martinet takes about a month to make a sculpture and will often work on two or three pieces at the same time. It took him just four weeks to make his first sculpture and 17 years for his most recent completion!
If you want to see these new pieces up close, Martinet opens a new exhibition at Sladmore Contemporary in London, November 27 through January 31, 2014. You can see several additional new works on his website.