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abhominal

Félicien Rops (7 July 1833 - 23 August 1898) was a Belgian artist, and printmaker in etching and aquatint.

I know very well that I would be better off living normally, better off keeping to the straight and narrow, not to be (at the age of 30 years) as futile as Cherubino di amore for Beaumarchais (…). I know that I do not have enough respect for the law, that I am as scatterbrained as a mayfly, and as unworried as a monk, I know that I do not contribute to the good of the State but that which you do not suspect and that which will cause all serious people to faint, right up until the fifth male generation, is that I am happy and almost proud of being like this and not otherwise…. I hope that this surpasses the boundaries of decent insanity… (read more)

(via rapeshower)

Daniel K Sparkes Illustrations, paintings and photographs (via)

Shannon Keller: blood for everyone (via)

see also: Knitter by Shannon Keller

Brendan Danielsson: My work isn’t conceptual, personal, spiritual or political. And there’s no secret underlying message or point I’m trying to get across. I’m not trying to say much with it….at all. I simply create art that I would like to see if I were not the one making it. The process, as I develop a piece, is little more than a stream of consciousness without much forethought to what the end result will be. But I do try to incorporate a few elements of conflict to create a narrative for interest. These usually deal with man vs. beast, beauty vs. ugly, sensuality vs. violence, etc. Believe it or not, I don’t enjoy much of the actual process of creating art. It’s a contant struggle for me and I’m my harshest critic, but the end result is what keeps me going. When I create something that I actually like, I’m a happy man. (via)

Ink on rice paper illustrations by 25yr old, British born Chinese Artist Tim Lee. (via)

Love Must Die Young (Never Old Enough)

You were born with a light between your eyes, I was born to answer to your Sun

Why do I, Still water flowers

Ren Hang on flickr

see also: Lover by 任航222

Hailing from their little tree house in Berlin, the Monkeymen are happy to announce the release of a new Experimental Animation Piece: SKINLINES.

Herr Schobel: A lot of time, effort and love has been put into this shiny little gem. We hope you enjoy watching it as much as we enjoyed making it. Feel free to comment, criticise or just show us some love. If you enjoy what you see, spread it around and help us to extend our monkey empire.

Make sure to turn HD on!

Jenism - Somewhere in south america, Mazel tov, Festivus, Pomp, unexpected grid. Illustrations by Jennifer Crouch

Elinor Carucci, born in Israel 1971: “I can’t show intimacy in any general way, if there is such a thing as general intimacy. I can only say something universal about intimacy through actual intimacy. Mine. The actual real relationships I have with specific people. With these people that I love. The deepest I can reach is within what is most familiar and close.” (via)

Since the seventies, the elegant and memorable photographs of Paris-based artist Sarah Moon (*1941, France) are an inherent part of the international fashion world. Scarcely anybody will be able to elude the particular magic of her works. There is a borderland between fiction and truth which seems to be a permanent feature of Sarah Moons works. Poetic as they may be, they always long to reveal a particular form of reality: the fugitiveness of the moment, the boundary between growth and decay, the magic of a single second. (via)

“Very often I say to myself: I would like to make a photo where nothing happens. But in order to eliminate, there has to be something to begin with. For nothing to happen, something has to happen first.” (read an interview with the artist)

Hear from Sarah Moon personally, what goes through her mind, while taking a photograph - in this 10min video

Jenny Morgan: “I manipulate the figure to expose the individual’s idiosyncrasies and create a physiological portrait. Working with people from my own life as subject matter allows me to hone in on specifics of their character and present their personalities as I experience them.” (via)

Alison Watt was born in Greenock in 1965 and studied at Glasgow School of Art from 1983-88. From 2006 to 2008, Watt was the Associate Artist at The National Gallery in London, an intense period of work culminating in the spectacular solo exhibition Phantom (2008) which explored her enduring fascination with one particular painting in their collection, Zurbaran’s St. Francis in Meditation.

“These exquisitely painted canvases edge further towards the abstract yet had a strange, almost sexy quality which suggested a human presence, or at least absence.”

Albert Foolmoon’s Website and Flickr

The visual crossover between industrialization and science in Fritz Kahn’s artwork demonstrates surprisingly accurately how human nature became culturally encoded by placing the knowledge in an industrial modernity of machine analogues. He produced lots of illustrations that drew a direct functional analogy between human physiology and the operation of contemporary technologies. Therefore, by illustrating the body as a factory, Kahn was able to relate the body’s complex organic interior to the industrialized space so common in society during that period of time (the poster was created in 1926).

Henning Lederer: “From the moment on that I got to know Kahn’s poster “Man as Industrial Palace” in 2006, I had the idea to animate this complex and strange way of explaining the functions of a body. I wanted to continue Fritz Kahn’s act of replacing a biological with a technological structure by transferring this depiction with the help of motion graphics and animation. In addition to the moving images, as a framework, I had the idea to create a cabinet for this work including a mixture of old and new technology. This new version of the “Industrial Palace“ is an interactive installation for the audience to interact with - and by this to explore the different cycles of this human machinery.”

Read more about the installation at Morbid Anatomy.

L: Fritz Kahn, 1926 / R: Henning Lederer, 2009

Edward Hyde on Flickr _ CIREDz

Milan based painter Valerio Carrubba is a hyperrealism painter. He has some pure beauty work that are already in some big collectors homes. Some of his works are painted twice; one brushstroke lying on top of the other. This double painting emphasizes the colors and repeats the form in order not to describe them but almost to deny them. (via)

Over the last 100 years, the way we visualize and understand the complexity of the brain has evolved.

Nineteenth-century histologists created some of the first images of nerve cells by chemically stiffening tissue and then immersing it in silver nitrate, randomly staining a small number of cells to make them visible when they were viewed with powerful new light microscopes.

Microscopes with more magnifying power enabled them to probe nerve cells in greater detail, revealing distinct compartments. Newer techniques expose the connections between nerve cells, revealing the complex organization of the brain. (read more)

a Vulture’s Dance:  the flight over the dead sheep… the deadly eye over them to choose… and the flying shadow over death

new work of www.GBenard.com

Sonia a Novosolov, Born in 1983 in Moscow, Russia. Immigrated to Israel in 1992.

Currently working on a series of paintings called “Anorexia”.

Made by the photographer Jean-Yves Lemoigne for Amusement. A magazine dedicted to video games and interactive culture.

how it was made

Vesna Jovanovic is a contemporary visual artist whose work ranges from surreal drawings to pinhole photographs and double-walled ceramic vessels. Her creative process often involves a combination of chance and precision, reflecting interests in time, science, and the unity of opposites.

“My involvement in science caused a personal transformation that is reflected in my current artwork. During my pursuit of chemistry, moments and events gradually acquired names, and the world turned into a language of formulas. But once something could be named and broken down, it no longer contained its sublime, powerful anonymity. As a result, and despite my continued love of chemistry, I experienced anguish and a desire to find other ways to explore the enigmas of life.”

Instead of serving as a means of self-expression or communication, art now fulfills the same role that chemistry once did: it is an avenue of inquisition and discovery. Unlike chemistry however, art aims to reveal questions rather than answers. (via)

Benedetta Bonichi relies upon the collaboration of Italian and foreign important universities and scientific institutions, in order to realise her works; where she has been invited to deliver lectures and teach.

After years of research and studies (ranging from philosophy, ancient history and language philosophy to paleethnology and ethology) thanks to the President of the Italian Microbiology Society, she gets into contact with the School of Human Anthropology within the Biology Faculty in Florence and collaborates with some of the American teachers. In 1991 she leaves University dedicating herself to music, dance and mime and founds a theatre company, also beginning drawing, painting and sculpting. In 1995, by chance, she comes across the article “To see in the dark”, written in Germany in 1934.
In light of a Kantian reading of reality of Laurentian features, from 1995 to 1997 she creates approximately fifty sculptures illustrating the theme of shadows. Persuaded by the need to go beyond, “I do not know how to study, describe, nor draw this magnificent obsession that is reality…”, Benedetta Bonichi seeks a new type of language. After years of research going beyond aesthetics and ignoring light, in 1999 she creates the first X-ray images.

“Radiography is more than a technique. It is rather a teknè; that is the only possible means to read reality, through matter rather than light. Radiography, together with photography, digitalisation and fresco powders…” (via)

Patricia Piccinini’s worlds are full of youngsters, including pink and blue truck babies promising to tell where grown-up trucks come from.

Patricia Piccinini’s exhibition at Artium explained by herself

The Gathering

Edie Nadelhaft “When I choose to paint something, it is the sheer essence of that thing that I attempt to depict, be it the sweet, sloppy pleasure of eating a cherry, or the diaphanous wing of a fly. My perspective ranges from close to extreme close-up, settling upon a vantage point that teeters on the edge of the picture plane. My expectation is that scrutiny will lead to simplification and clarity. The reality is more like a set of Russian nesting dolls: further investigation reveals the same or an even greater level of complexity - a tiny universe within.” (via)

Interview with Edie Nadelhaft at Sweet Station

Also take a look at Edie Nadelhaft’s ”Laughing My A** Off”-Pills series

deconstruction and regeneration… Gonzalo Bènard belongs to a very special category of humans; those whose lives are comprised of many storylines. “Reborn” in various occasions, Bènard began as an art history, fine arts and computer science student, he went on to pursue a career as editorial coordinator in the Cultural Centre of Belen in Lisbon, gained notoriety as the editorial coordinator of the Pavilion of Portugal in the 1995 Venice Biennial, left everything for a three-year residence in the painting school of a Tibetan monastery, came back, became a painter, finally ending up an emerging photographer. (via)

G. Bènard mixes cultures, rites and rituals, life and death. Encompassing everything human his work speaks of faith, sex, spirit and what it is to be alive and trying to make sense of a world that cannot make sense of itself.

Take a look at GBenards Video-Projects and visit him on flickr and 8oinks.

foxeto // foxe

Melbourne based Illustrator Kristy Milliken

The Wellcome Collection’s summer exhibition explores the fascinating world of anatomical models, which had a dual historical role to both titillate and educate. Displays of anatomical models were so popular in 19th century London that there were seven dedicated establishments, drawing in huge crowds every week. Curators at the Wellcome are hoping that the curious, grotesque and sometimes exquisite models will hold the same intrigue for a 21st century audience.
a chronological journey: Exquisite Bodies, The Wellcome Collection, London, until October 18 2009 Preview Images

How to make a wax model