Part of our 3 street art works series you should see today. Artists featured are Otto Schade, Dale Grimshaw and La Pandilla
Otto Schade – “De Evolution” on Rivington street (London)
Dale Grimshaw – new mural done for the Whitecross street party (London), 20-21/7/2013
La Pandilla – in progress and located on Brick Lane (London)
Underdog Art and Incandescent Artists invite you to join us in celebrating a group of fine art & photo-realism artists making some noise on the art scene with their technical skills, these artists have a certain edge about their work, they’re FUTURE MASTERS, come down to The Underdog Gallery.
We’ve picked these artists because we believe they have a certain “je nais se quoi” about their work and their thought process, sometimes provoking, sometimes dark, sometimes humorous but mostly just amazing!
Not only we will be supplying you with a visual feast of technically skilled art but we’ll also have legendary DJ Steve Darmont playing 70’s funk, RnB and club classics from 6pm – 11pm, we’ll have a drinks reception and we’ve got a fully loaded and licensed bar so there’s no excuse not to come down and have an amazing night of art and music in one of London’s most trendy venues!
Featuring Matt Small, Mason Storm, Will Teather, Robert Sample, Zachary Walsh, Nicolas Ruston, Victoria Coster, Gianluca Pisano, Luca Indraccolo, Sally Jones Fuerst
DJ Steve Darmont playing 70’s funk, RnB and club classics from 6pm – 11pm on opening night
Drinks reception and Licensed Bar 6pm-11pm
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This is a gallery
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Shepard Fairey’s face must have dropped when he saw these “Yes we scan” posters which are a “remix” of his now iconic “Hope” pieece for Barack Obama’s 2008 presidential campaign. Yesterday he was the one using a photograph without permission, which got him into a legal battle and a $25,000 fine, but today it looks like someone is doing just the same.
We hear that Shepard Fairey likes the posters a lot and that he will not start any legal proceedings. We agree too, e thing they are great posters with a straight to the point slogan. What do you think?
The posters features the slogan “Yes We Scan,” a parody of Obama’s “Yes We Can” rallying cry, and an image of the president wearing headphones, presumably to listen in on average Americans’ phone calls.
“Subversion of well known symbols and images for social commentary has long been a technique in my repertoire, so I’m glad to see it in the work of others,” Fairey said
First seen on Artinfo
Animation by Namchild (based on ‘Duel’ by Lohenhart)
All effects (incl. motion blur/explosions/wind/wood etc.) are in shot and were happening as the picture is taken. No cgi is used. Photoshop is only used to remove support wires etc.
Lohenhart.
http://www.youtube.com/user/Lohenhart
Official music –
Camo & Krooked
http://camoandkrooked.com/
Hospital Records
http://www.hospitalrecords.com
I went past it many many times but did not see it or just a glimpse of it and thought that it must be one off graffiti worth seeing surely but no rush for it. I was so wrong.
I then decided last week end that on my way, I should go and check out that piece on the wall which is actually only half visible from the street and surprised I was to find a multitude of awesome street art stuff all around me and the sun was out that day big time so happy face I must have pulled. Continue reading Quality street art spotted in Dalston
If you read my post about digital painting, you may have got that ART-PIE believes in the ‘get your hands dirty’ approach when it comes to make art. Get your brushes, pencils, spray paint cans, anything and everything and get physical with the whole lot to get that unique feeling of satisfaction when finally the idea that was stuck in your head for a while is now right there in front of you and ready to be seen by others. Continue reading ‘Brushes’ iPhone app: painting at the touch of your finger
I do not know for you but 2 of my hobbies or 2 of the things I spend most of my time doing, are typing on a computer and looking at, reading, writing or producing art so the so call ASCII art could just be the form of art I have been looking for.
ASCII art is a graphic design technique that uses computers for presentation and consists of pictures pieced together from the 95 printable (from a total of 128) characters defined by the ASCII Standard from 1963 and ASCII compliant character sets with proprietary extended characters (beyond the 128 characters of standard 7-bit ASCII).
Long story short – they are numbers, letter and characters.
What is remarkable about this art, beyond the fact that serious artists out there produce stunning pieces, is that, one of the main reasons behind the emergence of this technique, was because early printers often lacked graphics ability and thus characters were used in place of graphic marks (pixels will then take over printing).
We have included some of the best ASCII art we found on the web. Remarkable right?
Click any picture to start the slideshow and let us know your favourite in the comments below. Ours is the Jack Nicholson one depicting of course a scene and the cover of Stanley Kubrick‘s movie – The Shinning
P183 is his name and Moscow his playground where he has recently dropped a series of street artworks which some will tell feels very “banksy-ish”. Banksy, British artist, first began his guerilla artwork campaign in Bristol in the early 1990s.
It is hard not to agree when you see some of his works below but one piece particularly caught my eye – Seeing is believing, I actually think it is very clever and is one of the best use of the urban furniture I have seen in recent street art. It uses lamp-post to double as the arm of a giant pair of eyeglasses, with the rest of the ‘frames’ drawn in the snow. Clever
Another piece is worth mentioning too – Instigators Of Bridges. A rioter with a flare has been drawn on a flyover and fire is lit at night giving the piece another realistic dimension.
What do you reckon?
Edward Kienholz’s Five Car Stud depicts a horrific scene of racial violence during the civil rights era. Actually, the term horrific does nothing to illustrate the nauseating effects of this life-size interactive work currently on display at the Los Angeles Contemporary Museum of Art.
The piece is set up in a darkened room with a sandy dirt floor. Five cars form a circle, illuminating the focal point of the work with their headlights. Life-sized, white male figures stand next to their cars menacingly wielding batons and other weapons. One man holds a shotgun at his side. Clown-like masks and sagging skin cover their faces. The eyes are hollow and insipid, yet smirk at inflicting pain upon another human.
The sense of entitlement emanates not only from their facial expressions, but also from the positions of the bodies and the looming presence of each of these men. Garbed in jeans with the ruddy faces of moonshine alcoholics, they abuse and castrate another man, lassoing his foot like cattle, simply due to the color of his skin.
The victim lies in the center of the scene flanked by two men gripping his arms. Instead of casting an entire figure, Kienholz installs a rectangular trough in place of his torso. He filled the trough with water and six wooden alphabet blocks, two of the same letter, floating around, and leaving the viewer to piece together their meaning.
Kienholz spent three years working on this project between 1969 and 1972 during the height of civil rights era when activists had reached some victories for desegregation. However, through his depiction viewers realize that prejudice and unfounded bias continue to infiltrate society.
Kienholz is best known for using found objects to create jarring sculptures that comment on social issues within the United States. He created this work shortly before he relocated to Germany where it first appeared publicly. A private collector acquired the work and for 40 years it remained in storage. Los Angeles County Museum of Art is the first to display the work in the United States.
I do not exaggerate the gravity of this work. Guards stand at the doorway advising parents against allowing their children to witness it.
The pictures cannot convey the deeply unsettling feeling evoked by the piece. Perhaps it is the blatant intolerance, the flagrant violence, or simply the knowledge that things have not changed enough. Whatever the reason, whatever the effects, Kienholz has created a penetrating work that shocks viewers with its content but awes with the undeniable skill and ingenuity it took to mastermind.
