JUSTIN PETERS IS A 22 YEARS OLD GERMAN DIGITAL SURREALIST ARTIST WHO MERGES REALITY WITH HIS OWN IMAGINATION USING PHOTOSHOP.
“EVERYTHING YOU CAN IMAGINE IS REAL” BY PABLO PICASSO IS A QUOTE JUSTIN LIVES BY, ESPECIALLY WHEN CREATING HIS WORK: PAINTING HIS OWN DREAMWORLD WHERE EVERYTHING IS POSSIBLE TROUGH THE UNEXPECTED AND UNIQUE IMAGERY COMBINATIONS AND PHOTO MANIPULATIONS.
JUSTIN HOPES THAT WHEN PEOPLE EXPERIENCE HIS WORK, THEY DISCOVER A NEW AND DIFFERENT WORLD, WHICH THEY CAN DIVE INTO TO PROVE THAT EVERYTHING IS POSSIBLE WHEN YOU OPEN YOUR MIND.
Getting into Studio 54 in the 1970s was a nearly impossible endeavor.
Marc Benecke, doorman for the disco club, would stand on a stepping stool and select club candidates from the crowd.
He compared this process to “mixing a salad.” Nevertheless, “54″ lured celebrities, socialites, athletes, and artists from around the globe.
Andy Warhol once said, “The key of the success of Studio 54 is that it’s a dictatorship at the door and a democracy on the dance floor.”
For the 40th anniversary of the club’s opening, giving you a peek at the lucky few (celebrities, of course) who actually made it inside.
Andy Warhol and his stuffed bear make an appearance at Studio 54. Mr. Warhol was a frequent visitor of the nightclub, as he enjoyed the eclectic atmosphere. “People weren’t particularly interested in seeing me,” he said, “they were interested in seeing each other. They came to see who came.”
Cher and Liza Minnelli
Best buds Cher and Liza Minnelli take on the dance floor at Studio 54. Cher still made it out that night, even though earlier that day she choked on a vitamin pill and was dragged to the hospital.
These works play with notions of re-forming beauty and value. I use humble, end-of-life materials inspired by my experience as a faux finisher and love for art history. The paintbrush is self-referential, acting as subject, object and action.
The slow and repetitive pace of whittling allows me time to reflect more directly on the idiosyncrasies of each individual brush. The action of whittling serves as a metaphor for reducing something to its core value or essence. These works pay homage to a sensibility and vitality found in Old Masters’ works.
My latest edition of Paintbrush Portraits highlighting lost, obscure and powerful stories of women across history and geography. These lady-like portraits are a playful strategy I use to draw the viewer into a more refined conversation about the nature of the work – in slowing down and observing the ordinary, however small, the most profound things are discovered. Rebecca Szeto
South Korean-born Cheong-ah Hwang makes “paper sculptures” from carefully layered cutouts that measure less than an inch deep, but appear to float within their frames.
Shadows cast by the shapes give these storybook images depth and dimension.
In Little Red Riding Hood, for instance, the jagged edges of the wolf’s teeth and fur are sharp and clear against a white ground of birch trees.
Cheong-ah Hwang lives and works in Columbus, Ohio, where she shows in galleries and leads workshops in paper arts.
She maintains an Etsy shop, where she sells original paper sculptures — with costs that reflect their time consuming process — and giclee prints of her bas relief images.
So much is known of the great painter, artist, filmmaker, sculptor, designer, writer autobiographical exponent of Surrealism, which has made this movement a vision of life and, with his great imagination, he lived his life with extravagant attitudes and choices to the limits of absurdity that attracted the attention on himself. Many were the occasions to know the style applied to the arts, through the various exhibitions that were dedicated to him. And ‘one of the artists of the twentieth century’s most famous and most celebrated.
Everyone knows those long hair, sideburns … To say nothing of his mustache waxed and upturned, perhaps the most famous in the world.
“His is an aesthetic manic, talking about his mustache, Dali says it undertook to keep them at every opportunity” sharp, imperialist, ultra-rationalists and pointed toward the sky as the vertical mysticism. ”
We want to talk about Salvador Dalì, since his art is more connected to the world of fashion, than you might think. As already mentioned, she loved dressing in an eccentric manner, provocative. Indosava often long socks and knickers .. He loved the excess and the clothes he had found a way to express it in the newspaper. This extravagant dandy believed, in fact, that dressing was a form of expression of its own I, the living manifest a subversion. The most visible manifestation of desires and most intimate dreams.
But Dalí was not only attracted the fashion he wore, but also by what he helped create with such great names of haute couture in an explosive blend of surrealist art and fashion. To make a few notable examples, famous is the collaboration between the artist and Elsa Schiaparelli, for which he created the ” white dress with a lobster print ”
and ‘the skeleton dress “, the result of a particular technique of quilted fabric that forms with its volumes ribs, spine, tibia, hips, ribcage.
Even for her designs the famous “hat-shoe” and a pink belt with lip-shaped buckle.
For Christian Dior in 1950 he created the famous “dress for 2045 years.”
As the skeleton, lips, even more, are an element that recurs almost obsessively in his art. We see them reproduced in the famous portrait of Mae West, hollywood diva, for the Americans icon and muse for Dali, struck by her for her provocative and extravagant femininity and sensuality to the limits of indecency.
To her, that he loved so much, in 1935 dedicated a portrait that is a room, which became one of the symbols of surrealist art! “Your face is a dream turn into a living” “complete with a sofa in the shape of lips and other items of furniture which, in ‘together, reproduce the very face.”
This portrait was installed at the center of the lips sofa-West, an element that returns obsessively Dali surrealist art
and that we find reproduced in the series of lipsticks
and jewelry that the artist himself in later years has created.
The jewelry collection is inspired by natural elements and anthropomorphic and fleeting by definition, set out in the act of transformation.
The 160 emojis are based on the iconic artist, her works and writings about her tumultuous life.
An Instagram project that previously brought the likes of Andy Warhol and Yayoi Kusama into the contemporary realm of emojis has brought out a full set of FridaMojis – inspired by Mexican painter Frida Kahlo. Kahlo created 55 self-portraits in her lifetime, so why not take inspiration from her soul-baring works to bring her art into the digital age.
“Frida was just perfect for the project,” Sam Cantor, of the LA-based Canter Fine Art gallery and designer of the Fridamoji told Artsy. “She conveyed her emotions so honestly and openly in her work. What better artist to translate into emoji, which we use to express emotion today?”
Cantor said that when he created the first Instagram project, he took suggestons from the public: this led him to immortalise Warhol, Jean-Michel Basquiat, Vincent Van Gogh and more in emoji form. He said that his Kahlo creation was “the most successful”.
The gallerist engaged with the Frida Kahlo Corporation to keep the vision informed and true to the artist. What was important, he related, was creating images that go beyond identifying Kahlo by her unibrow and floral headwear. Cantor travelled to Mexico City to study some of her paintings in real life, including Las Dos Fridas (1939), her double portrait created after her relationship ended with Diego Rivera. “The intensity of the emotions on their faces, and how many ways they could be read or stretched to tell different stories, really struck me,” he said. “That was a turning point.”
Of the 400 emojis made, 160 were chosen. These include one based on Kahlo dressed as a man with her hair cut in Self-Portrait with Cropped Hair (1940) and Self-Portrait with Monkeys (1943).
FridaMoji is now available on the App Store.
via Dazed and Confused Mag
Theater of Life is the documentary about the Refettorio Ambrosiano, an extraordinary soup kitchen conceived by renowned chef Massimo Bottura in a socio-culinary experiment conducted during the Milan 2015 World’s Fair and designed to answer one simple question: “What if food waste could feed the hungry?”
The adventures behind Bottura’s experimental pop up kitchen are chronicled by film director Peter Svatek and the journey he took last year, along with 60 of his peers and colleagues from around the world, including the likes of René Redzepi, Daniel Humm, Gastón Acurio, Alain Ducasse and Virgilio Martinez. All took leave of their world class restaurants to join the visionary chef of Osteria Francescana, the best restaurant in the world, and support him in his quest to cook meals for refugees and the homeless of Milan using waste food from the world EXPO.
The film takes its name from the soup kitchen venue, an abandoned theatre in Greco, Milan, where the stage became the kitchen for some of the best chefs in the world and the auditorium the dining room for refugees and the homeless to be served gourmet food made from waste.
The documentary has already been screened in Spain and Canada and comes to Australia in November in collaboration with the charity OzHarvest, an Australian food aid charity. In keeping with the philanthropic intention of the original kitchen, each ticket sold will provide 14 meals to those in need around Australia as well as supporting a nutrition education program NEST and hospitality training course for less fortunate youth in Nourish.
“Massimo Bottura’s global star status within the food industry brings much-needed focus on the issue of eliminating hunger and food waste,” says Kahn. “This film showcases Massimo’s extraordinary leadership on global issues which we hope will inspire chefs as well as home cooks to take meaningful action on the social challenges that we face today,” reported Broadsheet.com
Here’s Massimo offering up some tips on how to save producing waste food at home, including taking just 20 minutes out of your day every few days to shop locally.
The refettoria has since unfolded in Brazil, with its next stop planned for The Bronx, New York in 2017 with Robert de Niro.
Konsta Punkka is a wildlife photographer from Finland who captures the everyday lives of some of Earth’s most skittish forest creatures.
Armed with a camera, a calm demeanor, and a pocket full of peanuts, Punkka takes to the woods in search of grazing fawn, foraging squirrels, curious foxes and more. Aided by his patience and finesse, the portraits that Punkka captures of these majestic creatures are absolutely breathtaking.
“The feeding thing in my photographs is more like a thing I want to show to the people, that the animals trust me and they allow me to get really close to them. I don’t feed these guys much, just a few peanuts to get them stay close to me to take the shots,” said Punkka in an interview.
Who? “I will love you from the landscape that you see, from the mountains, the oceans and the clouds, from the most subtle of smiles and sometimes from the most profound desperation, from your creative sleep, from your deep or fleeting pleasure, from your own shadow and your own blood. I will look through the window of your eyes to see you.” Frida Kahlo’s love for Spanish painter José Bartoli was heartbreakingly poetic and intense. Although Kahlo and her husband, Mexican muralist Diego Rivera, had a famously open marriage – she was known to have sapphic tendencies, while he had an affair with his wife’s younger sister – Kahlo wanted to keep her lesser-known yet incredibly passionate correspondence with the Catalan artist secret. In order to mislead her husband, Kahlo told her lover to address her in his letters as Sonja. The two had met while 39-year-old Kahlo was recovering from spinal surgery in New York, and their romantic relationship continued after she returned home to Mexico City.
What? Kahlo and Bartoli’s long-distance love affair inspired 100 pages of adoring, sensual letterings. Jealously kept in a chest by Bartoli and found by his family only after his death in 1995, the 25 letters – alongside a number of keepsakes including sketches, pressed flowers and photographs dating back to the late 1940s – are now being exhibited for the first time at Doyle auction house in New York City, before going up for auction tomorrow. While a record of Kahlo’s physical agony, loneliness and frustration, their correspondence is filled with hope and passion. In a photograph sent to Bartoli in 1946, for instance, Kahlo is pictured sitting in the patio of her Blue House in Coyoacan, South of Mexico City, the words on the picture reading ‘tree of hope keep firm’ – the line was a reference to a song that she and Bartoli loved, but Tree of Hope was also Kahlo’s nickname for her lover. In another letter, Kahlo wishes for a child with Bartoli and tells him that if she was not “in the condition I am in now and if it were a reality, nothing in my life would give me more joy. Can you imagine a little Bartoli or a Mara?” – many of her letters were signed off as Mara, short for ‘maravillosa’ (Spanish for ‘marvelous’), which was what Bartoli called Kahlo in his letters to her.
Why? Described by Kahlo’s biographer Hayden Herrera as “steamy with unbridled sensuality and, like Kahlo’s paintings, extraordinarily direct and physical”, the letters are a beautiful, handwritten testimony of the Mexican painter’s most private life, from the misery of physical pain that Kahlo endured throughout her existence to the longing for health and vitality and the desire for her lover. Expected to fetch up to $120,000 (£81,400), the display at Doyle’s Manhattan gallery is a one-off opportunity to discover a very intimate side of one of the world’s most celebrated artists, while seeing the previously unpublished letters to “my Bartoli”.
Halloween in tokyo — especially in the Shibuya and Shinjuku neighborhoods — has become a not-to-be-missed attraction for people all over the world. But its popularity and high attendance rates has brought with it a litter problem once the celebrations are over. In order to help tokyo’s garbage problem after halloween,dentsu.inc designers tsudou honda, emika minaga, toshichi kaono and hiro misaegusa have designed the jack-o’-lantern trash bag to keep the city clean after the celebrations.
The ‘trash bag of jack-o’ lantern’ aims to make people want to pick up the rubish. Different volunteer organizations handed out the bags at the main train stations, encouraging people to use it and then toss it at designated collection points. Once filled, the bags collected and filled with trash decorated the streets with pumpkin motives. 550 people volunteered resulting in an activity that became festive and courteous; and that gave both the helpers and the people who saw them a big smile on their faces.
images © designboom