8oinks

Streetartist Judith Supine on flickr

(via arrested motion)

Poster Boy NYC: pen or sword?

Notes to a friend; silently listening

view more Collections by William Schaff

Four new Banksy pieces appear in London. see them on Vandalog (via)

agraphie: faces keep changing, people keep talking…

view Full Set on flickr

Eric Beltz (1975) The exquisitely rendered graphite drawings are sophisticated responses to American folkways and myths. As darkly funny as they are disarmingly earnest, the graphic works are both exhortations and critiques of our nation’s inborn exceptionalism and romanticism. The preservationists’ dualistic attitude (i.e., Humanity vs. Nature) provides only simple answers to our complex questions. By contrast, Beltz’s allegorical drawings shirk simplistic moralizing in favor of contradiction, ambivalence and multiplicity. His scenes speak to an active communion with Nature, albeit one that includes suffering, death and a melancholy nod to the essential absurdity of existence.

Appropriately, Beltz’s drawings incorporate Biblical texts and his subjects are recognizable as America’s founding fathers and God-fearing, anonymous farmers. But Beltz draws from a peculiarly American well, the proverbial melting pot. Each drawing is suffused with currents of Eastern philosophy and shamanism. His farmers and historical figures are also mystics.

Beltz’s meticulously rendered works don’t offer any answers, but neither do they shrug off the dilemma. With a richly ironic sensibility and a sensitivity to the complexities of our national character and (natural) history, Beltz embraces our clusterfuck approach even as he skewers it. “The Good Land” is sublimely ambivalent. (via myartspace)

Sun Yuan and Peng Yu are two of China’s most controversial artists, renown for working with extreme materials such as human fat tissue, live animals, and baby cadavers to deal with issues of perception, death, and the human condition. In Old Person’s Home Sun & Peng present a shocking scene of an even more grotesque kind. Hilariously wicked, their satirical models of decrepit OAPS look suspiciously familiar to world leaders, long crippled and impotent, left to battle it out in true geriatric style. Placed in electric wheelchairs, the withered, toothless, senile, and drooling, are set on a collision course for harmless ‘skirmish’ as they roll about the gallery at snail’s pace, crashing into each other at random in a grizzly parody of the U.N.dead. (via)

The system of belief or not; that is not the problem of yours ;
Jo Seub’s World of Disbelief

Jo Seub (1975, Born in South Korea), has developed a distinct system of disbelief, the centerpiece of which is a fluctuating of self-identity. By putting the symbolism of contemporary symptoms of scepticism into the artificially controlled images, he has taken disbelief as one main subject in his art. Irrationality and the distortion of one’s internal life have been common paradigm for postmodern system of reasoning and acting. This self-betrayal produced by the tension between the superficial belief and the internal disbelief are continuously knocking on our belief system of which we thought it could guide us to imagine and advance our own perspective of ’sensus communis’. From the perspective of a ‘pictorial ideology’, Jo Seub questions that why our living has to be determined in a trivial way. (via)

Who wants to live forever // Do not question

Stan Vanderbeek (January 6, 1927 - September 19, 1984) was an American experimental filmmaker.
Vanderbeek’s career spanned about a third of a century, a period of almost constant creativity with extraordinary amalgamations of media. As such, it is a difficult career to summarize, especially in light of the fact that no definitive list of his truly countless productions seems to exist. Vanderbeek appeared to exude creations at a rate that escaped even his own cataloguing.

you can find a number of Stan Vanderbeek’s videos on TheMotionBrigades youtube channel.

see also: A la mode

Marcel Dzama’s Even the Ghost of the Past includes drawings, collages, costumes, installations, dioramas, and a film. They evoke fairy tales but with an added streak of terrorism, jazz-era nostalgia, sexual perversion and cruelty. Inspired by the religious shrines he found in Mexico and the work of Joseph Cornell, the Canadian artist has created a series of five dioramas. Recessed into the wall, they recall a child’s puppet theatre or the didactic displays found in natural history museums. (more)

Check out this music-video Marcel Dzama directed with Patrick Daughters 
Department Of Eagles - No One Does It Like You

Also take a look at Marcel Dzama’s paintings and collages

an outpouring of people power not seen here since the 1979 Iranian revolution 

Full story in The Big Picture

Jittagarn Kaewtinkoy was born 1979 in Thailand.  He completed his art education in Supanburi and at the Rajamangala Institute.  Jittagarn is a young and contemplative individual who is observant of his surroundings and likes to depict people’s characters in his work.  He often executes his paintings in a cartoon like manner with bright colours and a fair share of irony.  Jittagarn has participated in several art exhibitions in Thailand and also won prizes in local art contests. (via)