The chairs that Jimmie Martin Ltd. designs are surely part of the Slow Home movement – it basically “benefits the planet without sacrificing quality of life” – and display a cool and urban print combined with sophisticated shapes. The creativity of the designers also leaves room for their client’s own visions: “All pieces are individually finished off to either the customer’s personal taste, or to the ideas of the founders, Jimmie and Martin.”
Take a look at each of the chairs – they all have something amazing to show off, whether it’s words, colours or dog illustrations. They play with different colours and symbols, like the Union Jack inspired upholstery, the neon green sausage dog upholstery or the classy commisioned chairs with words written on their earth-coloured upholstery. The colourful designs can bright up the atmosphere in an urban apartment or even give a sophisticated artistic vibe in a club. We found them on ChairBlog and it’s up to you and the interior designers to place the right chair in the right setting – and trust me, there are a lot of designs to choose from.
Jimmie Martin Ltd - Chairs
Via: Freshome
Muse of the photographer David Bailey, Penelope Tree was one of the most prominent models of the Sixties in London. A name and a face difficult to forget!
Only child of Marietta Peabody Tree, woman in the world and political activist Democrat and Ronald Tree, journalist, investor and Conservative MP, great-granddaughter of U.S. retailerMarshall Field and the Reverend Endicott Peabody educator, Penelope Tree was photographed by Diane Arbus at 13 years old. Continue reading
PENELOPE
TREE
THE MUSE OF DAVID BAILEY
Via: leblogdesovena
Penelope Tree, Richard Avedon, 1967
Penelope Tree, David Bailey
Penelope Tree, Vogue UK, 1968
Penelope Tree, David Bailey, Avril 1968
The displacement of psychic energy is a salient characteristic of the primary process, which governs the system of the unconsciousness. As a virtually objective correlative to this idea of the free displacement of psychic energies, the intense physicality of Cecily Brown’s paintings can be seen as emblematic of the exhibition’s theme. In this world of fragmented vitality, built of interleaving brushstrokes, Brown reserves an interior space for extravagance in opposition to repressive force. Sergej Jensen’s, Untitled (Bad Dreams), uses a similar density of layered figuration, only to reveal the dreamwork’s critical play in the substitution of a carpet fragment for the painter’s craft.
Wilhelm Sasnal, Thilo Heinzmann, and Eberhard Havekost all engage the inherent tensions between masking and revealing form as subject. Heinzman’s Heinze appropriates the naked form of the classic haystack armature as a standing sculpture, its spiked arms recalling the inherent dangers of support systems. Sasnal’s painting of strobe lights characteristically withholds in his search for a meaningful subject to paint. The surface of Havekost’s Minus 2 Meter 2, is unheimlich in its luxuriant depiction of a folded blanket that is also a veiled and masked surface.
In works by Charline von Heyl, Tom Burr, and Jacqueline Humphries, the specter of physicality is evoked through subtle reference to constraint, loss, and desire. Von Heyl, in the very title of her painting Idolores, achieves a Verschiebung that resounds throughout the formal dislocations of the object. Suggestions of confinement and loss echo through Burr’s triptych of pinned t-shirts.
If catastrophe and repressed passion operate in a space between the silence of disavowal and the trickery of disguise, they share with certain profound currents in contemporary art an abstraction of representation and an elision of mimetic didacticism. The German word “Verschiebungsersatz” conveys this sense of displacement—a postponement in time, a dislocation in space—with respect to the formation of a substitute.
(Verschiebung means displacement; ersatz, substitute.) Yoked together, the two sides of this term portray the often unstated value of works of art during times of instability by bringing expression to meanings and experiences that are not yet possible to state in more conventional language. As an exhibition, “Verschiebungsersatz” brings together a group of artists whose work transvalues those elements of psychic life which are otherwise prohibited expression. These artists find ways to introduce the work of art into the realm of primary processes associated with the unconscious and to elide the bar of censorship.
verschiebungsersatz
Via: Kimmerich
Curated by David Rimanelli
Fashion fades,
only style
remains the
same.
- Coco Chanel
Its springtime and the Cherry Blossoms are in Flower. We stumble upon a Bonsai tree nursery, a cohabitation of all colours, shapes and sizes. Many a generation of Bonsai stands by admiring their blossoming saplings. Sakura, a tree surgeon by trade effortlessly glides through the tree families, pruning away their untimely growth spurts, quenching their thirst and warming their hearts, bellies, leaves and trunks with a calculated move to a sundrenched lounger for an afternoon of relaxation. As the sunlight dances through their leaves Sakura makes haste for the bee hives.
The cultivation of Bees and tree nurseries has been a fascination of hers since childhood and the dusting of intricate artwork and tattoo craftsmanship that shrouds her skin is a testament to this. Her body is the essence of the garden, personified....every inch is considered and camouflaged, from the nape of her neck, to the tips of her finger nails.
As the day draws to a close Sakura heads home, meandering along the winding river.
Fishermen are snoozing in the last of the days sun whilst the humming birds and crickets provide the delicate yet arbitrary soundtrack. She sits on the bank momentarily to model a miniature penguin from some paper in her pocket. She had heard of one losing its way and emerging in Australia....what a journey that must have been!
Sakura is thankful for her choices, her passion and her life. She can and always will dance to the rhythm of her own drum.
Glimpse of the S/S 2012 collection from Charlotte Taylor (the UK).
2012 CHARLOTTE TAYLOR
Via: Charlotte Taylor
In an action-packed interview with the Guardian (read it all, it’s great) on the eve of his biggest show ever in Britain, Anselm Kiefer talks about his affection for Angela Merkel, his plans to refurbish a decommissioned nuclear power station, and his thoughts on Damien Hirst. “To go to Sothebys and sell your paintings directly” — as Hirst did in 2008 — “is destroying art. But in doing it to such an exaggerated extent, it becomes art.”
ANSELM
KIEFER
ON
DAMIEN
HIRST
Via: Art Info
INTERVIEW WITH HAYLEY WARNHAM
I've always been a creative person and have been drawing since I was a kid, so I decided to nurture my artistic side and recently gained my degree in Visual Communication where I specialised in Illustration. I chose Visual Communication because after finishing school I was still unsure of what direction I wanted to head, but it gave me the opportunity to work in Photography, Graphic Design and Digital Media before I finally decided Illustration was for me.
It's a playful mix of Collage, Drawing and everything in-between. My work could be considered quite conceptual as I believe less is more and it's always a little rough around the edges. When there's too much going on it all becomes a bit over-complicated and unnecessary - although knowing when to stop is the tough part.
I usually take some time to think up an initial idea then work from there. I'm a real perfectionist, so working with Collage is perfect for me as it allows the freedom to experiment with positioning and layout of imagery without having to commit to a final composition straight away. Once I'm happy with the layout, I fix everything down and build it up from there.
I'm often found wielding a pair of scissors and a Pritt-Stick, whilst being surrounded by a mountain of Magazines, Newspapers and Clippings. I'm also never far from a sharp pencil and a paintbrush.
I think it's normal for many creatives to get blocked for ideas. Sometimes they just arrive instantly, but other times it just takes a while for them to develop. When I feel lost I tend to step away from the work and explore all kinds of interesting blogs and sites online, they're great for inspiration as well as leading you onto an endless path of other odd sites.
Via: TheArtfuls
Extension/Ascension, 55 x 65 x 2", human hair, gold, terry cloth, clay, staples, and wood, 2010
TRACY THOMASON
I recently discovered Tracy Thomason’s work by the serendipitous nature of the Internet.
Her use of materials and juxtaposing them to make abstract yet familiar compositions is what I enjoyed most. She works from Brooklyn, NY
Via: Tracy Thomason
Essentially Without Tomorrow, 72" x 106", oil, house paint, spray paint, earth, wind, gold leaf, fur, lambs wool, status, testosterone, and marble on canvas, 2008
Untitled (Medusa and Cassiopeia commune), 116" x 30" x 3", scrap wood, spray paint, kool aid, lambs wool, and rubber, 2008
Shriveled Glint in Cantor, 16" x 41", lame leggings, oil, and gold leaf on canvas, 2009
Marina Nery
I had a hard time picking which pictures to put in this post. Billy Kidd's work is fun to look at. He grew up in Pamana City, FL. He currently lives and works in Brooklyn, NY.
photos by BILLY KIDD
Via: Billy Kidd
Igor Eskinja constructs his architectonics of perception as ensembles of modesty and elegance. The artist “performs” the objects and situations, catching them in their intimate and silent transition from two-dimensional to three-dimensional formal appearance. Using simple, inexpensive materials, such as adhesive tape or electric cables and unraveling them with extreme precision and mathematical exactitude within strict spatial parameters, Eskinja defines another quality that goes beyond physical aspects and enters the registers of the imaginative and the imperceptible. The simplicity of form is an aesthetic quality that opens up a possibility for manipulating a meaning. It derives, as the artist states, from the need for one form to contain various meanings and levels of reading within itself. The tension between multiplicity and void constitutes one of the most important aspects of Eskinja’s mural “drawings” and seemingly flat installations. A void is still an active space of perception; it does not conceal; it comments on the regime of visibility, it invites the viewer to participate in the construction of an imaginary volume in an open space. The temporary nature of the artist’s spatial structures and the ephemeral quality of his carpets (where ornaments are carefully woven out of dust or ash) manifest a resistance to the dominant narratives of institutional apparatus and socio-political order.
Via: Volta Show
Born 1975 in Rijeka, Croacia
Beauty and fashion have always gone hand in hand -- you'll rarely find someone impeccably dressed without a great lip or trendy hairstyle to complete the look. This is why we've been keeping our eye on runway-inspired nail art designs as of late. Manicurists and bloggers alike have been pulling inspiration from the gorgeous looks spotted on the runways (everything from Prada to Roberto Cavalli) and are creating nail designs based off of those looks.
We spoke with Miss Ladyfinger herself, Taryn Multack, and she'll be creating nail designs just for us in the coming weeks. Her first, based off of Matthew Williamson's SS 2012 show, blends teals and browns seamlessly together.
Start off by applying a a teal coat of polish to your nails.
Use a thin nail art brush (can be found at your local beauty supply store) to apply a brown-gold polish in a zig zag motion horizontally along the center of the nail. This area does not have to be perfect; the point is for there to be uneven, flowing lines.
Via: Beauty High
The artist did molds of real bones with provenance from different dead people and after reproduced in wax each one, adjusting them and creating the representation of a new subject in that sculpture. The weight of the concrete is used like a symbolic element. Equilibrium is as a metaphor of struggle and resistance. Gravity reminds the spiritual weight that everyone supports and talks about fragility of our own life.
YOAN CAPOTE
Born: Pinar del Rio, Cuba, 1977
Via: Yoan Capote
Mary Jane Russell
and Evelyn Tripp
Photo by Louise Dahl-Wolfe for Harper’s Bazaar, 1953
I just get a thrill from vintage fashion. Love this.
Do you remember the first time you drew or painted a cat?
When I was 13 or so and saw what Picasso had painted when he was my age, I decided I really needed to get good fast. So I started by drawing seven things over and over again: crumpled up hand towels, flowers, myself, my parents, the beach, the alleys around town, and cats. I have pages and pages in notebooks, hundreds of cat drawings. In my later teenage years I moved to mushrooms, dancers, medieval castles, psychedelic abstractions, and sexy superhero cat-women. So I always was working with cats, I guess. And I never stopped drawing and painting cats from life.
What drew you so strongly to your feline subjects?
I liked that they constantly moved, so it was always a game to get this quick little gesture in the right way. Plus they are so elegant and mysterious, and gracious like dancers. There is always so much twist and bend in their positions. It's like they were made to be placed in an image. My house was a bit of a cat crack house. They moved in and out, usually based on how much bacon and cheese they got, which was a lot. So there were always new ones to draw. They squatted where they pleased, and never really got kicked out. Sometimes their family members would come looking for them there, only to be turned away by the head of the house. They definitely own the house to this day.
The 21st-century belongs to the cat. They already own the Internet and its lolz, an entire subdivision of street art is devoted to their graphic representation (with or without lasers shooting out of their eyes), and now felines seem to be colonizing contemporary art galleries as well. Recently a flurry of New York shows have celebrated the cat, including Urs Fischer andCassandra MacLeod’s familial turn at Gavin Brown’s Enterprise and Kristen Schiele at Freight + Volume.
And then there is Allison Schulnik’s oil-thick exhibition at ZieherSmith Gallery, which features multiple paintings of felines (and one sculpture.) We spoke with the Los Angeles-based artist about her artistic cat fancy.
Allison Schulnik's Obession with
Felines
Via: Art Info
Cat Head (Miggy Littleton), 24" x 24", oil on linen, 201
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