“The simplistic beauty of the “8-bit” work that emerged from the first days of digital are what inspire the artwork and paintings of Adam Lister. They capture the essence of the digital age, representing familiar images of culture and art in a format that is nostalgic and beautiful in its limitations. Lister’s collection of 8-bit-inspired portraits, reproductions and original works have been met with critical acclaim and tremendous excitement from collectors.”
“Batman and Robin”, 7×10 inches watercolor
“Man of Steel”, 6×8 inches watercolor
“The Son of Man”, 5.5×7 inches watercolor
“American Gothic”, 7×8 inches watercolor
The Scar Project is a series of large-scale portraits of young breast cancer survivors shot by fashion photographer David Jay.
See also: Under the Red Dress Project
Beth Whaanga’s series of photos called Under the Red Dress show the changes to her body caused by cancer. Photograph: Nadia Masot.
“How radical and provocative is an honest image of a woman’s body?
Beth Whaanga, a mother of four from Brisbane, Australia, is finding out after posting images on Facebook of her body following surgery for breast cancer late last year. Taken by Nadia Masot, the pictures are brilliantly direct, documenting Whaanga’s ongoing hair loss, total bilateral mastectomy, navel reconstruction and hysterectomy scar. Whaanga lost more than 100 friends on Facebook after posting the pictures – and then they went viral. A registered nurse, she describes herself as a “breast cancer preventer”, and hopes to make people more aware of the physical changes that might signal a problem.”
Source: The Guardian
See also: The Scar Project
Naked “pixelized girls” made by the photographer Jean-Yves Lemoigne for the 3rd issue of the French magazine Amusement.
“Pixelhead is a simple balaclava made with an elastic fabric very similar to swimsuit material. Its aesthetic appearance, however, is quite specific: the decorative pattern chosen by Martin Backes is indeed “pixelated” and the colour palette is similar to those that a face or a head shot would have if photographed by a digital camera. Pixelhead has been created as a garment for urban survival: worn in the daily hustle and bustle it makes faces unidentifiable if pictured or recorded by surveillance cameras. Intuitively we could describe this object as “camouflage.” This definition, however, has in itself a surprising reversal of perspective. The ancient concept of mimesis is in fact that of imitation of nature and the world. But Pixelhead operates its mimesis towards an environment that is not natural anymore. Being “mimetic” in this project means, instead, to emphasize a profound and urgent transformation: to defend our privacy in (physical) reality we must adapt as much as possible to the technologies of control, implemented in the thousand eyes of the machines looking at us. Those eyes are a constant and continuous filter through which everything is read, encrypted and processed.
“The work deFacebook by Indian artist Nandan Ghiya consists of a series of portraits made from images taken from popular social networks and physically printed on canvas. The selected photos are classic half-length or full-figured portraits, (partially) set up according to the classical canons of the family portrait. The wooden or golden frames are thick and heavy. Together with the hue of the pictures, which often changes to sepia, they give the images a nostalgic antique mood. This aesthetic vintage effect is functional, engendering a sense of disruptive irony. Some parts of the pictures (often the faces) have been modified using very apparent and colourful glitch effects. This is underlined by a subtle but crucial characteristic: the frames of the paintings retain their classical rigor in the colours and materials but they follow every whim of the glitched pixels which overflow the profiles, breaking the hardness and regularity of the classical frames. With this refined aesthetic expedient, the artist looks to disrupt the style of the classic portrait. The transition to digital of the public representation of the self (once the family portrait) became engrained after Facebook. The subjectivity, so fixed on canvas, is represented in all its fragility, creating effective effigies of the modern portrait – even more impressive because of the errors in the unstructured faces.”
According to Chrystal Bougon, owner of plus-size lingerie store Curvy Girl, “There are so many pictures of models in lingerie, but I’m constantly asked for pictures of our products on ‘regular’ bodies… In the fashion world, anything over size 4 is considered plus-size. I know, it’s a big joke.”
Bougon stated: “Inspired by a customer, I wanted to show that women with rolls, bumps, lumps, scars, stretch marks, surgery scars and natural breasts that have nursed babies can be stunning and beautiful.” And women have responded in full-force, posting their own photos to Curvy Girl’s Facebook page in high numbers.
Source: Huffington Post
“I began this book project unknowingly: After shooting some self-portraits with my 5-week-old son Sequoia accompanied by a blog about my newly-round post-Birth body, I was flooded with emails by mothers wanting to share their Incredible, Inspiring, & Sometimes Painful stories with me. It was then I realized I had to tell their untold stories, that a body of work begged to be created! Through Photographs & personal essays from these courageous mothers all over the country, I hope to offer a powerful healing tool for Mothers everywhere. Since inception, 1000’s of women have volunteered & the project ‘A Beautiful Body Project’ was born. Together we can redefine our culture’s idea of a beautiful woman. I have photographed and humbly listened to hundreds of stories now: Anorexia; childhood bulimia; a woman being told by her mother she was too fat to be a ballerina. Self-hatred; self-inflicted-suffering; Feeling unsexy because she perceived her nipples as imperfect; feeling unsexy because she lost too much weight after breast feeding; Feeling like there was something deeply wrong with her because she had only lost 5 pounds 9 months after the birth of her 2nd child; Sexual abuse; teenage & young adult drug addictions due to self loathing because she never felt beautiful; breast cancer after the birth of a long-awaited pregnancy; loss of a baby at birth with a wrinkly tummy & un-suckled breasts to remind her everyday of what might have been”.
“There are so many stories shadowing mothers in our culture. We are, however, also tremendously blessed with vast amounts of freedom as American Women: we are lucky to be able to shape-shift concepts and ideas in our country. We have the ability to choose to feel worthy, to believe we are beautiful and to act as women who wish to share beauty and joy in this world as an inter-connected community of people seeking a beautiful and peaceful life. It is my hope in 2013 to find a publisher for this book of powerful photographs & stories in order to inspire thousands of other mothers who are eager to feel validated by witnessing this exploration of vulnerability as a collective”.
“I have medium-large labia. I have meaty outer lips, & long thick inner lips. And my inner labia are different sizes. I love my labia. But some women don’t love theirs. Many women see unrealistic images and listen to misguided opinions and think their labia should be neat, small & invisible to be “normal”. This blog is all about fighting that view, by showing how perfectly normal and beautiful large labia are. Really they’re nothing special though, the average woman has them! Anyway I’ll show you mine & feel free to submit yours”.
Our Breasts “celebrates the beautiful diversity of natural breasts, of all sizes, shapes, colours, ages and races. Breasts are such an important and integral part of what makes us feel feminine, sexual, and real women. By showing how all women are different, and uniquely special, as a gender we will be able to challenge the beliefs around what makes breasts beautiful. And in turn, we will be able to help women feel better about themselves. Help show the beauty of all women by contributing your breasts to this project”.
Lola Dupré is a collage artist and illustrator currently working near Góis in Portugal. From 2000 to November 2011 Lola worked in Glasgow Scotland, at the Chateau studios and then from the Chalet studios. The collage work is handmade with paper, scissors and glue.
Ben Long’s blurred digital prints not only wrong-foot passing motorists but also explores the idea of images losing their potency through ubiquitous representation.
“These artworks could be taken simply as a subversion of representational art because they appear to disrupt the traditional values of painting and present abstraction as high octane thrill-seeking,” Ben says.
“YouGlitch is a website created by Martial Geoffre-Rouland and Benjamin Gaulon, based on Corrupt, their web-based Glitch Art Software. Corrupt, built back in 2004 with Proce55ing, enables the corruption of image files through repetitive replacements that can lead to numerous corrupted versions. The process is simple and clear: after users download and install the software, they can use it with webcam videos or ones they have stored on their hard disk. A 10-second video and an animated GIF is saved locally and also automatically uploaded to the new website. YouGlitch is a user-generated collection of glitch creativity. It is based on re-using, recycling, creatively destroying and sharing. It is a collective glitch art project but on its own terms and in accordance with our social media reality. At first sight, YouGlitch doesn’t seem to present accidents or failures as part of a flow or circulation of images. It looks more like a tool for helping users demystify glitch art, opening it up to popularization. It appears as a user-generated aesthetization of interruption that proves (as Rosa Menkman wrote in her Glitch Studies Manifesto) that what is now a glitch is destined to become a fashion. But to my eyes, YouGlitch succeeds on deeper levels: it connects to the present while referring to the past. It correlates the digital with the analogue era by correlating YouTube channels with the TV. It raises questions regarding potentially deliberate failures in the stream of videos and the exercise of control. Could it be that YouGlitch allows for collective play with corruption while at the same time suggesting a form of sabotage? If glitch art can also constitute a form of subversion, couldn’t this project possibly also be about the formation of an anti-apparatus that is unreadable, profane, glitched, out of control?”
See also this: http://beautifullyimperfects.net/2012/02/20/youglitch/
“Tim White Sobieski has an innovative approach to art, utilizing digital mediums to skew and beautify images in unexpected and refreshing ways. Drawing inspiration from digital images and cinematic stills, Sobieski deconstructs reality and rearranges it in an artistic, painterly fashion”.
The WORLD_Dis/ORDER series includes several pictures of well known places around Germany and Europe. All of them are multiple exposures without any post-processing.
“Artists have always been fascinated by imperfection. A little failure, a small mistake, an unexpected behaviour can be perceived as more meaningful and intriguing than the perfect artwork. This is even more relevant in the computer world where pushing the breaking point of technology is common practice, as shown by a renewed interest in glitch aesthetics over the past few years. A recent example of an art project intrigued by software malfunctions is Extrafile by Kim Asendorf. It consists of a native Mac OS X image converter application with the ability to open, preview and save the most common image file formats in seven different new formats: 4Bit Components, Block Ascii, Block Indexed, Channel Compressed Image, Monochrome Collector File, Uniform Spectrum and the ExtraFile Format, each one with its own properties. With this new set of formats, the aim is to “wiggle the static system of image file formats” and give the artist complete control over their digital artwork. Formalising the visual aspect of glitches in new fictitious ways outside the commercial formats allows the artist to exercise control and to not be at the mercy of the computer. It also provides exclusivity for the artists, so they’re not just using the same old formats as everyone else. As Asendorf puts it “ExtraFile is a pioneer art project in storing image data. The process and the resulting bytes, regardless of content, become the artwork itself”. Being a software art project, Extrafile’s potential as a process is increased by its open source nature. The source code is indeed available on GitHub under the Artistic License 2.0, making this piece conceptual software art with practical usage – quite a rare quality in the online art scene”.
by Valentina Culatti
In a series of work entitled String Mirrors, South Korean artist Hong Sungchul creates three-dimensional sculptures/photographs made of string. The pieces consist of hundreds of printed on elastic strings that when lined up together, display an image. The strings are strung on several rows giving the pieces varied depth that is both delicate and beautifully presented.
Misunderstanding Focus is series of photo collages made by Nerhol, an ongoing collaboration between Ryuta Iida and Yoshihisa Tanaka.
“At first glance it looks as though a photograph has been printed numerous times, layered and cut into a sort of sculptural topography, which would indeed be amazing enough, but Nerhol took things a bit further. The numerous portraits are actually different, photographed over a period of three minutes as the subject tried to sit motionless, the idea being that it’s impossible to ever truly be still as our center of gravity shifts and our muscles are tense. The portraits are actually a layered lime-lapse representing several minutes in the subjects life and then cut like an onion to show slices of time, similar to the trunk of a tree”.
“The Photo Drips series, by German-born, Brooklyn-based Markus Linnenbrink, is pure rainbow-colored goodness. His pieces are positively dream-like and are explorations in color and texture all rolled into one. This series, pigment-tinted epoxy resin on photo-mounted wood panels, allows for brief moments of the photo to peek through the vivid paint lines, almost like memories fading in and out. The dripped lines of resin down the front of the panels appear like raised ridges that create depth throughout each piece. I love how the drips of resin have dried at the bottom of the panels like they were ready to drip off onto the floor. His work is simply mesmerizing” (Source: http://design-milk.com/markus-linnenbrink/).
AFTERTHERAIN(71), 2009, c-print, epoxy resin on wood, 48 x 72 inches
MEINWILDESHERZ, 2011, 6 x 10 feet, c-print, epoxy resin, pigments on wood