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Old 03.28.2007, 06:27 AM   #61
cuetzpalin
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ANDY GOLDSWORTHY

 

 

 

 


etc.

http://en.wikipedia.org/wiki/Andy_Goldsworthy
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Old 03.28.2007, 07:06 AM   #62
Norma J
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Quote:
Originally Posted by Bunbury
 





 




 




 

I like these. Although the first image she should be sitting at the edge of the highway looking down upon the traffic. It would have been more effective.
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Old 03.28.2007, 04:59 PM   #63
jon boy
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Old 04.10.2007, 05:42 AM   #64
Tokolosh
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Martin Creed

 


 

Work No. 547
2006
35mm film transferred to DVD

 

Work No. 503
2006
35mm film transferred to DVD

http://www.martincreed.com
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Old 04.10.2007, 05:50 AM   #65
Tokolosh
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More Martin Creed

 

Work No. 289
2003
Neon
16 m (l)
Installation at The British School, Rome

 

Work No. 205: EVERYTHING IS GOING TO BE ALRIGHT
1999
Neon
25 cm (h)
Installation at Alberto Peola Arte Contemporanea, Turin

 

Work No. 567: SMALL THINGS
2006
Neon
Installation at Palazzo dell'Arengario, Milan, Italy
Exhibition held by Fondazione Nicola Trussardi

 

Work No. 273
2001
Neon
6" high
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Old 04.10.2007, 05:52 AM   #66
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Quote:
Originally Posted by Tokolosh

To test the limits of the relationship between performer and audience, Abramovic developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.
Abramovic had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.
Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramovic described it later:
“The experience I learned was that…if you leave decision to the public, you can be killed.” ... “I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.”


Holy hell.
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Old 04.11.2007, 07:41 AM   #67
Tokolosh
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Yasser Ballemans

 

 

God Bless Amerik.k.k. / katoen / 200 x 300 cm / 2004

 

WC rol / wc-rolhouders, wc-papier / 120 x 20 x 220 cm / 2005

 

Let’s Kick Ass (ism Karina van Bezooijen) / kunststof, PU-schuim, metaal / 30 x 50 x 120 cm / 2005
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Old 04.11.2007, 07:49 AM   #68
Tokolosh
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Linda Nieuwstad

 

 

 

 


Lovely Granny (2003)

18 bejaarde dames
gemengde technieken

doos 190 x 150 x 40 cm

fotografie:
Anneke Hymmen

Linda Nieuwstad's website
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Old 05.03.2007, 02:32 PM   #69
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I love this photo by Ed. Austin takes an awesome pose.

 
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Old 05.03.2007, 02:46 PM   #70
cuetzpalin
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BORIVOJ HORINEK "Records"

work with perspective
i couln't find any better pics, sorry



 



 
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Old 05.03.2007, 02:49 PM   #71
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The first one is sick.
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Old 05.04.2007, 06:34 AM   #72
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Stefan Zechowski


 

 
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Old 05.04.2007, 10:49 AM   #73
Cardinal Rob
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The art fag level of some of these art works is horrendous.
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Old 05.09.2007, 10:25 AM   #74
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Maurizio Cattelan
 

 
 
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Old 05.09.2007, 10:49 AM   #75
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Bedwyr Williams - Walk a Mile in My Shoes



 


Bedwyr Williams - Tyranny of the Meek

 



 
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Old 05.09.2007, 11:15 AM   #76
lucyrulesok
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I love Bill Brandt:
 


John Virtue:
 


Jenny Saville:
 


Hieronymous Bosch:
 


And a whole bunch of other stuff too...
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Old 05.17.2007, 02:30 PM   #77
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http://www.michaelchsiung.com/drawings_index.html#


 
 
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Old 05.17.2007, 02:51 PM   #78
sarramkrop
 
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Robin Williams
http://www.robinwilliamsart.com/





 

 
 
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Old 12.11.2007, 06:31 AM   #79
Tokolosh
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Brendan Dawes

Cinema Redux (2004)

DVDs have opened up many new ways for people to spend more time obsessing over their favourite movies, and one the oddest products of this new technology is Cinema Redux.
Graphic designer Brendan Dawes has sampled his favourite movies, one frame per second, and arranged them to make giant digital posters. Each minute of the movie is represented by strips of 60 tiny frames going down the length of the poster. Scan it quickly and you get an instant visualisation of the rhythm and timing of the film.

So far Dawes has processed nine titles, including The French Connection, Get Carter, Road to Perdition and The Conversation. Each finished print is an odd cross between conceptual art and storyboard, from which you can take in a couple of hours of fast cuts and long takes - what Dawes calls the "unique fingerprint" of each film.
There are surprising moments of colour - the red Dali dream sequence in Vertigo; the blue cinema screen in Taxi Driver.

Film students, academics and obsessives with time on their hands may use Dawes's grids to postulate new theories about the language of film.



Vertigo (1958, Alfred Hitchcock)
 


The French Connection (1971, William Friedkin)
 


Deliverance (1972, John Boorman)
 


Serpico (1972, Sidney Lumet)
 
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Old 12.11.2007, 06:49 AM   #80
Tokolosh
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Another Brendan Dawes project.

Don’t Look Now

What would happen if you take every single frame of a film and instead of displaying the frame in it’s normal aspect ratio you make it only 1 pixel wide?

Brendan Dawes: So with that question I built a piece of software in Processing that could take in a live stream from a DVD and construct images based on this idea. The film I used was the classic, and very strange ‘Don’t Look Now’ starring Donald Sutherland.

 


For more distorted images click here, and then on the view project button.
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