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Meat: Strange, disturbing and grotesque sculptures of flesh and bone

Russel Cameron creates surreal life-like sculptures of flesh and bone appendages.

Cameron’s sculptures of deformed limbs and freakish body parts look like they belong in a David Cronenberg movie or are perhaps some remnant meat blown off by an IED, or animal parts, trussed and ready for cooking. His artworks are almost obscene. They are disturbing, grotesque but at the same time compelling and strangely beautiful.

Cameron is a self-taught sculptor based in New York. According to a mission statement at the Macabre Gallery Russel’s main objective when creating a sculpture: to give it life, feeling and a place among us, whether it be a classic bust or a deformed limb mounted on a sheet of wood the piece should speak and tell a story to the viewer.

A majority of Russel’s sculptures possess human characteristics such as skin texture and some form of anatomical structure, these traits all play an essential role in the creation of each piece.

Some artistic influences include Zdzislaw Beksinski, H.R. Giger, Francisco Goya and Hieronymus Bosch.

Russel believes everything on earth has it’s place and those who see beauty in what the masses find grotesque or disturbing have a gift worth exploring.

Cameron has work exhibited by the beinArt Gallery in New York and his work is for sale. You can also follow him on Instagram and Facebook.
Long live the new flesh, after the jump….

Posted by Paul Gallagher | Leave a comment
Dreamy sci-fi paintings show the world after an alien invasion

While science fiction is a rich genre for both film and literature, the visual art it inspires—most frequently relegated to the covers of bad paperbacks—is very often astoundingly corny, regardless of how good the book it’s interpreting might actually be. Really good sci-fi art is really hard to come by, another reason why Simon Stålenhag is so singular; his post-invasion landscapes are dreamy, intense, and mysterious—completely devoid of the heavy-handed cheese one normally associates with paintings of robots and/or aliens taking over the earth.

Stålenhag has complied his work into two high-concept art books, Tales from the Loop and the sequel Things from the Flood, which comes out in November but is available for pre-order now. Ground Zero for Stålenhag’s dystopia is an alternative Sweden from his own ’80s and ’90s childhood, where experiments with a massive particle accelerator—“The Loop”—go terribly wrong. Despite the disaster, Stålenhag likes to focus on the quiet and the mundane countryside, now irrevocably altered by mysterious invaders. Still, there is an intimacy to his work, with special attention to the domestic lives, childhoods and romances of the people living in this chaotic new world.


Much more of Simon Stålenhag’s work after the jump…

Posted by Amber Frost | Leave a comment
Wilco’s new album ‘Schmilco’ will feature Joan Cornellà cover art
12:40 pm


Joan Cornellà

At DM we are yuuuuuge fans of the work of the Spanish illustrator Joan Cornellà, whose delightfully colorful and macabre creations have been warping our brains for a good many years now.

Cornellà‘s comics are invariably deceptive: they almost always appear to be targeted at children, quite similar to a Technicolor version of Ernie Bushmiller’s Nancy, but the content of the panels is cheerfully replete with grisly and dark occurrences such as beheadings, bestiality, depravity, and the like. Our own Amber Frost took a look at Cornellà‘s marvelous work last year.

In 2015 Fantagraphics published Mox Nox, a collection of comics by Cornellà, and they have a Cornellà title called Zonzo that is slated for early 2017.

A few days ago Wilco announced that a new album called Schmilco (a pretty clear shout-out it would appear to Harry Nilsson’s 1971 album Schmilsson) will be released this September. It turns out that Wilco has had the good taste to outsource the duty of album art to Cornellà, as you can see above. I undertook some rudimentary online searches and was unable to find any previous album art by Cornellà. Lucy Bourton of It’s Nice That asserted that Schmilco represents “the first time Joan’s work has been used on an album cover.”

There’s more after the jump…

Posted by Martin Schneider | Leave a comment
Sculptor creates a mutant ‘concept human’ to survive car crashes (and he’s horrifying)
09:30 am


car crash

Here we have sculptor Patricia Piccinini’s ugly baby, Graham, a high-concept mutant designed to withstand car crashes. Graham’s unsettling physiology was created in collaboration with trauma surgeon Christian Kenfield and road safety engineer David Logan in order to emphasize how incredibly fragile our (comparatively attractive) human bodies are, and as far as public safety service announcements go, he really gets the point across. Our mushy little brains are so vulnerable in our (more or less) normal-sized heads!

I’m willing to bet Piccinini added the the row of rippling puppy nipples for shock value, but the construction of Graham’s skull in particular is very medically informed. Our brains are not capable of withstanding the impact of a high speed crash, and we’d need massively reinforced gourds to do so—so wear your damn seatbelt and don’t speed!

If you’re considering bodymodding yourself for optimum safety, you can look at Graham’s physiological “specs,” so to speak, in a 360 degree rendering online!

More after the jump…

Posted by Amber Frost | Leave a comment
Sinead O’Connor will illustrate your text
08:30 am


Sinead O'Connor

via Facebook
We are all big fans of Sinead O’Connor here at Dangerous Minds. Her voice is gorgeous. Her songs cut through lies. She is hilarious. She’s defied the music industry’s sexist, grab-ass bullshit. She confronted the Catholic Church about child abuse two decades before it was front-page news and paid the price for her courage. She is a real, actual artist.

On Monday, O’Connor announced on Facebook that she’s selling handmade, decorated illustrations. They are available in two flavors: sacred (without swears) and profane (with), though there appears to be some overlap (see “The Books of the Fucking Prophets” below). The sacred works draw on Sinead’s heterodox Catholicism, while the profane celebrate “Reasons To Fucking Thrive.” 

Sinead writes:

I make these as a hobby. But am now going to make a living. If you want to order and buy one for yourself with words of your own choosing or mine, please contact.
Themes are only two… Scripture (no bad words) or Reasons To Fucking Thrive .
Send yours and get it made pretty..

I’m mystified by one or two of Sinead’s selections in the latter category (for instance, she big ups “Don Fucking Lemon,” not one of my personal heroes), so I would probably choose my own words. How about Sinead Fucking O’Connor?

Here are a few samples from Sinead’s Facebook page:


More after the jump…

Posted by Oliver Hall | Leave a comment
Artist gives old photographs a superhero makeover

Someone’s dead relatives just got a makeover. Artist Alex Gross takes discarded vintage photographs, paints on them and turns them into portraits of pop culture icons like Batman, Superman, Electra, Wonder Woman, Super Mario and Marge Simpson. These mixed media paintings raise questions about the relevance of history, family and memory in our neo-liberal consumerist world—where fictional characters have far more currency and longevity than familial ties or dead relatives.

Gross is best known for his beautiful, disturbing and surreal paintings that explore modern life.

The world that I live in is both spiritually profound and culturally vapid. It is extremely violent but can also be extremely beautiful. Globalization and technology are responsible for wonderfully positive changes in the world as well as terrible tragedy and homogeneity. This dichotomy fascinates me, and naturally influences much of my work.

I like Alex Gross’s paintings. I like his ideas. He is painting a narrative to our lives—and like all good art he is questioning our role within this story and the values we consider important in its telling. More of Alex Gross’ work can be seen here.
More photographs reborn after the jump…

Posted by Paul Gallagher | Leave a comment
Wonderfully lurid and macabre posters from the Grand Guignol
08:28 am


Grand Guignol
Adrien Barrère

Adrien Barrère was a prolific poster artist in late Belle Époque Paris, noted for having illustrated over 200 cinema posters for Pathé in the earliest decades of the 20th Century. His style was a bit more cartoonish than his more famous contemporaries like Toulouse-Lautrec and Chéret, due to his training as a caricaturist.

And that respected artist made some marvelously ghastly posters for that notoriously gory and debauched theatre, the Grand Guignol.

A huge influence on horror cinema, the Grand Guignol (roughly “large puppet show”) specialized in garish melodramas that typically climaxed in graphic violence. In his introduction to Theatre of Fear and Horror, U.C. Berkeley Drama professor and author Mel Gordon writes:

There is something embarrassing about the Grand Guignol. Like a renegade sect or invented religion from another century, it still touches upon our secret longings and fears. A product of fin-de-siecle France, the Grand Guignol managed to transgress theatrical conventions and outrage its public as it explored the back alleys of unfettered desire, aesthetic impropriety, and nascent psychological trends in criminology and the study of abnormal behavior. Its supporters called the Grand Guignol play the most Aristotelian of twentieth-century dramatic forms since it was passionately devoted to the purgation of fear and pity.

Audiences came to the Theatre of the Grand Guignol to be frightened, to be shocked, while simultaneously delighting in their fears (or in those of the people around them). The more terrifying a performance was—that is, the more it tapped into its spectators’ collective phobias—the greater its success.

Gordon’s book was originally published by Amok Press in 1988, but an expanded edition is being released in a few weeks by Feral House, and will feature a section of color plates, play scripts, and the autobiography of one of the theatre’s company players, actress Paula Maxa, who may be the single most murdered performer in the history of theatre (“I had been shot, burned, poisoned, flogged in the nude, bitten by snakes, dismembered on a butcher’s table, strangled, left bleeding to death—all at the whim of the playwrights”).

The gallery of Barrère prints below was graciously provided by the publisher. Clicking spawns an enlargement.

The Puppets of Vice, 1929

Harakiri, 1919
More macabre mayhem from the Grand Guignol after the jump…

Posted by Ron Kretsch | Leave a comment
When half of Throbbing Gristle ended up on a UFO LP cover, making out pantsless

In 1975, the notable British buttrock band UFO released Force It, a barrage of boogie riffs and and double-entendre lyrics about fucking. As hesher-metal albums go, it was fairly interchangeable with a lot of the era’s hard rock, but its cover art has proven durable even as the band’s sound has aged. It’s a photograph depicting what could be read as a coercive sexual advance between a couple of indeterminate sex, one of whom is sans pants. Collaged into the photo are many, many faucets.

Faucet. Force it. You get it, ha ha, let’s move on.

The cover was designed by one of the era’s most distinctive and forward-thinking design studios, Hipgnosis. The firm consisted of designers Storm Thorgerson and Aubrey Powell, and were responsible for singularly surreal album art for Pink Floyd, Peter Gabriel, and Led Zeppelin, among many, many other clients. Force It was hardly their only controversial work, but it ranked high on that score. The US version of the cover was censored, by making the aggressively embracing couple half transparent. The irony here is that the models for that cover were already known for works that made the Force It cover look kid-friendly. From Neil Daniels’ High Stakes & Dangerous Men: The UFO Story,:

The artwork was risky for the time and because of the amount of flesh on display was almost banned—well, it was the 1970s, a non-PC age, but also surprisingly prudish too. It was toned down for the USA release, where they were even more prudish. One point of interest, is that the gender of the couple remained a cause of debate amongst UFO fans, but the couple turned out to be Genesis P. Orridge [sic] and his then girlfriend Cosey Fanni Tutti.


Kissing and buttocks mercifully ghosted for delicate American sensibilities.

Many of this blog’s regular readers know that Genesis P-Orridge and Cosey Fanni Tutti were, at the time, the principals behind COUM Transmissions, an art group known for incredibly transgressive performances that included heavy doses of kink, up to and including unsimulated bleeding and vomiting, violence, and even live sex—so this “controversial” photo was actually one of the tamest things they’d ever done. The year after Force It, COUM would evolve into the pioneering industrial band Throbbing Gristle, and Throbbing Gristle included in its membership one Peter Christopherson, who in the mid ‘70s was an assistant at…Hipgnosis.

More after the jump…

Posted by Ron Kretsch | Leave a comment
‘Stick ‘n’ poke’ prison tattoos go mainstream
02:38 pm



Stick n' poke flash sheet
There’s a trend that’s only been getting bigger recently in the tattoo community…. stick ‘n’ pokes. What started out as a jail tattoo (or a kitchen hobby) needing only a pen, needle, ink, bottle cap and a steady hand has turned into something tattoo parlors now offer. And it can be pretty expensive. They charge hourly, of course, and really intricate stick ‘n’ poke work can take a very long time. Or you can get your drunkass friend to do it one convivial late night and end up with something that could be…. well… less than impressive.

Stick ‘n’ pokes seem to be tied up with the more DIY elements of the punk rock community. There is a scene in Penelope Spheeris’ The Decline of Western Civilization where X and friends are seen hanging out in their living room and John Doe is giving a friend, Top Jimmy, a stick ‘n’ poke. In fact, the whole scene is a late night post X show stick n’ poke party.
John Doe Stick n' poke
Intrigued by this tie in of stick ‘n’ pokes and punk music, I reached out to Marissa Paternoster of Screaming Females, someone who has a reputation for stick ‘n’ poking:

Marissa says:

“Stick ‘n’ pokes often come along with a fun story. Tattoos done in a proper studio can come along with a good story as well, but from what I’ve experienced, a DIY tattoo is often born from chaos. I love that sort of abandon, but as I’ve grown older, I’ve come to realize that drunkenly marking someone’s flesh isn’t something I’m so keen on doing.”

As far as learning how to tattoo, she says:

“An artist and musician who goes by the name Ben Snakepit taught me how to give myself a tattoo while Screaming Females was on tour in Austin in 2008. I must have been twenty years old at the time. Ben is well known for an autobiographical comic he makes called Snakepit.”

Screaming Females
Marissa tattooing her bassist, King Mike’s leg while their drummer sleeps on a couch.
Now stick ‘n’ poke parties are becoming trendy. Here’s a flyer for an event that included free stick ‘n’ poke tattoos, music, live painting and drinks. Mainstream culture seems to be celebrating the idea of these simple little lowly tattoos. Get your 10-year-old sister to draw you something, it will be the perfect kitchen tattoo.
Tattoo party flyer
And yet stick ‘n’ pokes can truly be art. Certain tattoo artists have mastered stick ‘n’ pokes as simply another option at the local tat shop. Jenna Bouma aka Slowerblack is one such artist who does amazing work. You would never know her tattoos are hand-poked.
More stick’n’ poke tattoos after the jump…

Posted by Izzi Krombholz | Leave a comment
From Russia with drugs: The twisted erotic surrealism of Dmitry Vorsin
02:27 pm


Dmitry Vorsin

A creation of artist Dmitry Vorsin.
According to Australian art collective beinArt the Surrealist responsible for the provacative Dali-esque creations in this post is Russian artist Dmitry Vorsin—a 36-year-old based in Moscow.

Though Vorsin originally set his sights on studying ecology when he enrolled in college he decided instead to pursue art—a passion that began when he was a child. The self-taught Vorsin uses ink, pencils and watercolors to weave his distorted figures that contain elements and images inspired by Renaissance-era paintings. Vorsin’s work was included in a fantastic looking book put out by beinArt in 2011 Metamorphosis: Volume 2: 50 Contemporary Surreal, Fantastic and Visionary Artists along with other modern masters of the surreal such as Shawn Barber, Travis Louie, Paul Booth and Swiss surrealist, the late, great HR Giger.

If you are digging on Dmitry like I am, I highly recommend you keep up with the prolific artist over on his Facebook page. A selection of Dmitry Vorsin’s avant-garde creations follow. Many are delightfully NSFW.


More after the jump…

Posted by Cherrybomb | Leave a comment
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