Photographer Richard Barnes spent ten years going behind the scenes in natural history museums documenting the artificial version of wild and the result is a stunning new monograph called Animal Logic.
Douglas Walla and New York’s Kent Gallery announce a big Paul Laffoley show in Paris, to be held at the Palais de Tokyo as part of their Chasing Napoleon exhibit, from October 15, 2009 to January 17, 2010. If you happen to find yourself in Paris this winter, it’s going to be a must-see show.
When Paul moved a couple of years ago, several early works from the Sixties were found hidden in his storage space and make up the bulk of this show. The piece above, I’ve seen in person and—like all Laffoleys—it’s truly stunning, vibrant and electric.
Tara and I own two of Paul’s paintings that will be in the Paris show. We were sure sad to see them leave our home a few weeks ago. Now the walls seen so bare! (They’re huge, 6 by 6 ft).
Thanton III, 1989 (you can buy a fantastic poster of this painting here)
As a kid I spent roughly two hours a day getting bussed back and forth to middle school and when I wasn’t dodging apples, I had plenty of time to immerse myself in the then still-slim oeuvre of Stephen King. Carrie, Salem’s Lot and The Shining all made somewhat more tolerable the stupidity of my fellow riders, and gave my own outsider-ish existence if not heroic contours, then something just as good: the potential for them.
I mean, I knew I wouldn’t be bumping into migrating vampires or telekinetic prom queens. But say I did, and needed to save not just my ass, but the asses of everyone I loved, and even, what the hell, the asses of those apple-chuckers. In terms of how to make that happen, King’s books offered up a pretty persuasive set of blueprints.
Maybe more than King’s novels themselves, though, I remember being absolutely mesmerized by their covers, and spending many long moments at the local library (a frequent King setting) simply gazing at them. The artwork of those early hardcovers did a fantastic job of whittling core themes down into imagery that was as simple as it was evocative (see above).
If you’d already read the book, with just a glance at its cover, you could relive it all over again. And say you hadn’t read the book, the covers made you want to, like, immediately.
Well, fans of that early artwork can now skip the library and gaze at the more than 2,000 King covers gathered over at StephenKingShop. They’re arranged by title, and I find it particularly interesting (and saddening) that, with the advancement of years—and books—the elegance of the cover art grows less and less striking. And that’s especially true for the paperbacks. Don’t get me started on those “Signet” ‘90s!
Kinda makes me feel like river dancin’.
(via Why, That’s Delightful! )
Handimal artist Guido Daniele:
Since 1986 Guido Daniele has been working and improving his personal usage of airbrush: he paints back-stages in different sizes (the biggest ones can be 400 square metres) for artistic and advertising pictures, tv commercials and tv programmes. He also creates trompe l’oeil, both in private houses and public buildings.
In 1990 he added a new artistic experience to his previous ones: using the body painting technique he creates and paints models bodies for different situations such as advertising pictures and commercials, fashion events and exhibitions.
I love this! Artist James Reynolds on Boarded Up: “With more and more businesses being forced to close down, the sight of bare wood across the windows and doors is now commonplace and unsightly. By pasting the wooden panels with actual images, this problem is solved.”
Publicists for the show were able to provide images of two works that will appear at the museum. Both images come from Dylan’s “The Drawn Blank” series.
In the first image (above), titled “Train Tracks” (2009), Dylan revisits his obsession with railway tracks that he has depicted in numerous paintings in the past. This latest variation features a blood-red sky dominating an anonymous rural landscape. The earth seems to reflect the hues of the sky as the railway stretches into infinity.
In the second image (below), titled “Man on a Bridge” (2009), Dylan once again depicts a favorite visual subject—a man in a hat standing solitary in what appears to be a European city. The musician has created many variations on this striking composition. In a statement, the museum’s chief curator, Kasper Monrad, said that several of Dylan’s images “reveal an affinity for some of the modernist masters, not least Henri Matisse’s works from the 1920s.”
Won’t be making it to Denmark next year? Well, below you can watch a Drawn Blank slideshow. It’s set to Dylan’s exceedingly lovely, Suze (the Cough Song).