Leigh-Anne Eagerton, Lemon and leaves, 2011


  Leigh-Anne Eagerton, Lemon and leaves, 2011

(via biologeed)

Tags: art


Colorful digital portraits by artist Mink Couteaux aka Merged Visible.  Taken from his series “Dead Rapper” and “Next Generation Rappers” and a solo Kanye piece for good measure.


Paintings by Bruce Holwerda

(via pengiesama)

Tags: art

Mark Khaisman

(Source: ksszns, via bludhavenmaven)

Tags: art


Vassily Kandinsky - Small Worlds, 1922.


Vassily Kandinsky - Small Worlds, 1922.

(Source: sciencefictiongallery)


Animated artwork by Rebecca Mock

Fine, detailed and subtle animated artwork created by New York illustrator Rebecca Mock. Apparently the animated gif back to stay, gradually more and more people are exploring this old format and customers asking for shouting. Several of these illustrations were created for the New York Times or The Warlus magazine.

(via daunt)

Tags: art


The Art of Eytan Zana

Eytan Zana is a concept artist and illustrator who specializes in environment and character design. He is currently at game studio Naughty Dog, and has worked on titles such as The Last Of Us and Uncharted 3.

see more from the artist at -

(via daunt)

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Artist Henrique Oliveira Constructs a Cavernous Network of Repurposed Wood Tunnels at MAC USP

Brazilian artist Henrique Oliveira (previously) recently completed work on his largest installation to date titled Transarquitetônica at Museu de Arte Contemporânea da Universidade in São Paulo. As with much of his earlier sculptural and installation work the enormous piece is built from tapumes, a kind of temporary siding made from inexpensive wood that is commonly used to obscure construction sites. Oliveira uses the repurposed wood pieces as a skin nailed to an organic framework that looks intentionally like a large root system. Because the space provided by the museum was so immense, the artist expanded the installation into a fully immersive environment where viewers are welcome to enter the artwork and explore the cavernous interior. Transarquitetônica will be on view through the end of November this year, and you can watch the video above by Crane TV to hear Oliveira discuss its creation.

Via Colossal

I hope if this exhibit isn’t permanent that they repurpose it for a playground or something because running through these tunnels and climbing over the roots is perfect for kids

(via wilwheaton)

Tags: art


Drew a bunch of trees

(via thebatsknees)


Charcoal sculptures by Aron Demetz

(via octobaba)


Beth Cavener Stichter (featured in Hi-Fructose Vol. 16) caught our attention with her raw sculptural style. The artist forms animals by hollowing out blocks of clay, giving her subjects a raw, unrefined appearance as if they sprang from the material itself. In her latest body of work for her second solo show at Claire Oliver Gallery, “Come Undone,” Cavener Stichter refined her aesthetic, creating animal sculptures that are more stylized with deep grooves and glazed with different shades of gray — a departure from her minimally embellished work from the past. Take a look at a few images from “Come Undone,” which opens September 13 at Claire Oliver in New York City.

(via lehellequin)

Jennifer Egan recommends “Card Tricks” by James Hannaham



Issue No. 101


I’ll confess that when my friend James Hannaham first mentioned that he was writing fiction in the form of art gallery plaques, my reaction was selfish: I wished I’d thought of it. The idea is so clearly excellent, involving the use of a non-literary genre that is textual, but also rich with its own conventions and dramatic possibilities. What more could a fiction writer possibly want?

But a manifestly great idea can be dangerous—as likely to smother as to sustain the fiction we beckon into its midst. In the end, the narrative must be absorbing enough to make us forget about the concept. Hannaham’s “Card Tricks” brilliantly achieves this. Presented first in a gallery space on Atlantic Avenue in Brooklyn, Hannaham’s work probes the genre of art gallery plaques from many angles, fabricating them from metal as well as paper, varying their sizes in significant ways, placing a plaque outdoors as well as on gallery walls, and—most powerfully—implicating the viewer directly and playfully. Anyone familiar with Hannaham’s fiction knows already the potent blend of innovation, humor and gravitas that is his trademark. It is exhilarating to see the same qualities at play in three dimensions.

You’re envisioning, perhaps, a collection of plaques that suggest the portrait of a fictional artist who made the art they describe, using an accretion of personal details and revelations. That’s the route I probably would have taken. Which is why it’s a good thing that I didn’t have the idea of using gallery plaques to write fiction, because what Hannaham does is so much more profound. By invoking the existence of artworks involving the gallery space, the people inside it, and the larger world (quite literally), Hannaham performs an ingenious reversal: the subject illuminated by the plaques ends up being us, the reader-viewers. And our experience of reading and viewing them—in what order we choose, in what state we’re in that day or night, in what company, in what mood, in what weather, is the narrative. It’s different for each of us, and it changes every time. The experience has something in common with theater, a medium Hannaham worked in for many years.

“Card Tricks” reminds us that prose fiction was invented to be open, flexible, and provocative, capable of absorbing whatever forms exist in the culture around it, and bending them to the task of high amusement.

Jennifer Egan
Author of A Visit from the Goon Squad

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“The most important quality of science or art is curiosity, that’s what keeps me going and always finding something new.” - Fabian Oefner

Selected by Mariana 

(via we-are-star-stuff)