Hayv Kahraman was born in Baghdad, Iraq 1981, now lives and works in Los Angeles. A vocabulary of narrative, memory and dynamics of non-fixity found in diasporic cultures are the essence of her visual language and the product of her experience as an Iraqi refugee/come émigré. The body as object and subject have a central role in her painting practice as she compositely embodies the artist herself and a collective.
Loving Sam Songalio
The Sick Rose: Disease and the Art of Medical Illustration, by academic medical historian Dr. Richard Barnett.
Publisher Thames and Hudson writes: The Sick Rose is a visual tour through the golden age of medical illustration. The nineteenth century experienced an explosion of epidemics such as cholera and diphtheria, driven by industrialization, urbanization and poor hygiene. In this pre-color-photography era, accurate images were relied upon to teach students and aid diagnosis. The best examples, featured here, are remarkable pieces of art that attempted to elucidate the mysteries of the body, and the successive onset of each affliction. Bizarre and captivating images, including close-up details and revealing cross-sections, make all too clear the fascinations of both doctors and artists of the time. Barnett illuminates the fears and obsessions of a society gripped by disease, yet slowly coming to understand and combat it. The age also saw the acceptance of vaccination and the germ theory, and notable diagrams that transformed public health, such as John Snow’s cholera map and Florence Nightingale’s pioneering histograms, are included and explained. Organized by disease, The Sick Rose ranges from little-known ailments now all but forgotten to the epidemics that shaped the modern age.
Images via The Guardian
Israeli street artist crew, Broken Fingaz. Love them.
Comic Book Cartography is a now-dormant blog devoted to maps, charts, diagrams, and other visual explainers of (mostly) fictional worlds found (mostly) in old comic books.
Since 1977 Christo and Jeanne-Claude have been working on their largest mastaba of oil barrels, a project conceived for the city of Abu Dhabi in the United Arab Emirates. The couple is mostly famous for their ephemeral monuments obtained by wrapping famous natural sites, sculptures or buildings, but during the years they also conducted parallel studies for the creation of monuments entirely made of barrels. These projects usually employ hundreds or thousands of barrels piled to form walls, (like for the “Iron Curtain” which blocked the rue Visconti in Paris in 1962), or a “mastaba”, a flat topped rectangular structure with sloping sides, like in their 1968 project for the Institute of Contemporary Art in Philadelphia, a structure of 1,240 oil barrels. The name and the shape of “mastaba” makes reference to ancient Egyptian tombs constructed out of mud-bricks or stone. Apparently, according to what Christo reported in an interview, “Mastaba is the old name of the mud bench found at the first urban place we know in the world—in Mesopotamia“.
The still unbuilt Abu-Dhabi Mastaba will be the world’s largest man-made sculpture, a 150 m (492-foot) tall structure made of 410,000 multi-colored barrels. Eventually, in 2012, after more than 30 years since its original conception, the artists obtained the building permissions and the site was approved. The sculpture/monument is indipendently financed by the artists as in the tradition of Christo and Jeanne-Claude’s works: the couple usually produces an extensive amount of drawings in order to sell them and use the proceeds to finance the building of their works.
Text and Images via Socks Studio. Continue THERE
16-year-old artist Shania McDonagh won the Texaco Children’s Art Competition for her hyperrealistic drawing of a man titled ‘Coleman’. For her talent McDonagh snagged a $2,075 (€1.500) award which she will receive next month. For more, head over to The Irish Times.
Echo Yang explores the current popularity of generative design processes, where computer software iterates endless variations, by turning old school analog devices like tin windup toys, a Walkman, an alarm clock and other machines into instruments of self-generated output.
a.) “Druzhba Holiday Center Hall” (Yalta, Ukraine, 1984)© Frederic Chaubin
b.) Jeremy Geddes’ “Adrift”
c.) Alex Chinneck
d.) A little boy dwarfed by a supersized cabbage in Matanuska Valley, Alaska, 1959.
e.) Bennett Slater
f.) Toronto based illustrator Brian Donnelly
Stefan Sagmeister’s ‘The Happy Show’ is centered around the well known designer’s ten year exploration of happiness. Having gathered the social data of Harvard psychologists Daniel Gilbert and Steven Pinker, psychologist Jonathan Haidt, anthropologist Donald Symons, and several prominent historians, ‘The Happy Show’ also includes a personal narrative, underlinig Sagmeisters individual experience. Furthermore he has focused on social data detailing the role of age, gender, race, money, and other factors that determine happiness. According to him: ‘The Happy Show offers visitors the experience of walking into Stefan Sagmeister’s mind as he attempts to increase his happiness via mediation, cognitive therapy, and mood-altering pharmaceuticals.’
In a presentation made at Nvidia’s NVISION show, Adam and Jamie, hosts of the known mythbusters show compared a CPU vs a GPU to explain parallel processing and the GPU blasted a mona lisa painting in 80 milliseconds using a 1100 barrel paintball gun.
C-MOULD, the world’s largest collection of microorganisms for use in the arts, with over 50 different kinds of microorganism. We have bacteria and fungi that glow in ethereal shades of green and blue light, bacteria that make gold and electrically conductive nanowires, and bacteria that produce biotextiles. We also possess the largest collection of pigmented bacteria. Here is the palette of living colours that is available through C-MOULD. Behind the obvious colour, each bacterium has its own unique personality and history (see below) and when used in paintings each one adds it own character to the work. Text and image via Exploring The Invisible. Continue THERE for more info.
The French Impressionists disdained laborious academic sketches and tastefully muted paintings in favor of stunning colors and textures that conveyed the immediacy of life pulsating around them. Yet the breakthroughs of Monet, Pissarro, Renoir and others would not have been possible if it hadn’t been for an ingenious but little-known American portrait painter, John G. Rand.
Like many artists, Rand, a Charleston native living in London in 1841, struggled to keep his oil paints from drying out before he could use them. At the time, the best paint storage was a pig’s bladder sealed with string; an artist would prick the bladder with a tack to get at the paint. But there was no way to completely plug the hole afterward. And bladders didn’t travel well, frequently bursting open.
Excerpt from an article written by Perry Hurt at The Smithsonian. Continue HERE
The worlds of architecture and scientific illustration collided when Macoto Murayama was studying at Miyagi University in Japan. The two have a great deal in common, as far as the artist’s eye could see; both architectural plans and scientific illustrations are, as he puts it, “explanatory figures” with meticulous attention paid to detail. “An image of a thing presented with massive and various information is not just visually beautiful, it is also possible to catch an elaborate operation involved in the process of construction of this thing,” Murayama once said in an interview.
Continue at The Smithsonian HERE
“You know, this explains a lot. Because all my life, I’ve had this unaccountable feeling in my bones that something sinister was happening in the universe and that no one would tell me what it was.” Arthur Dent.
Via Crispian Jago
A recompilation of US Patent illustrations. US Patent Illustrations: The Past when it was still the Future.
Click HERE to see more.
Comic artist Matteo Farinella will collaborate with neuroscientist Dr. Hana Ros of University College London to create Neurocomic.
Neurocomic will be a graphic novel that takes the reader on an exciting and visually captivating adventure through the brain, populated by quirky creatures and famous neuroscientists. Giant squid, talking sea slugs, mysterious trap doors, submarines, parachutes and underwater battles transport the reader on a fantasy journey that fascinates and helps them to understand how the brain works.
Neuroscience is receiving increasing public attention, as our society faces the complex problems of ageing diseases and mental disorders.
The medium of comics has repeatedly proved incredibly efficient as education material, for its clear yet informal approach. The authors aim to combine the two, to create a visually captivating adventure that shows how cells use electricity to communicate, how drugs work, and what happens during brain disorders. The graphic novel will be released in the UK in 2013, together with a short documentary by director Richard Wyllie, who is following the process of collaboration behind the book, in order to explore the interaction between science and drawing. The project is fully supported by a Wellcome Trust People Award.
Text and Images via Neurocomic.
Maps are ideally supposed to be objective depictions of reality, but they can also be used as an instrument of propaganda, portraying the world not as it is but as it is imagined by the cartographer. A recent post on the Russian historical website includes a collection of such maps , referred to as “symbolic maps”. Like the farcical stereotype maps discussed in an earlier GeoNote, these maps—often labeled “comical”, “satirical”, or “humorous”—can express rather negative and sometimes even belligerent views towards other countries; unsurprisingly, such maps grew in popularity during World War I (see map produced in 1915, on the left). They were, however, fashionable throughout the late 19th and early 20th century, when maps of this genre were produced in English, French, German, Italian, Spanish, Dutch, Russian, and Japanese.
Text and Images via GeoCurrents. Continue HERE
18 years old Mads Madsen retouches historical photos (sepia and b&w.) Until now he has chosen mostly well known male figures in politics, literature, humanities, and entertainment.
Looking forward to find an expanded palette soon, both in gender and color. See More HERE
A selection of front covers of various editions of On the Road. See more HERE
Explaining and Ordering the Heavens is an online exhibition from The Library of Congress, examining evolving views of the universe over 8 centuries.
Benjamin Betts’ Geometrical Psychology, from 1887, contains a sequence of delicately toned geometric figures intended to represent no less than ‘the evolution of human consciousness from the animal, zero, or starting point, through to the culmination of human possibilities – the transcendental’. Originally educated as an architect, Bett’s resolved to to end his career determined to visualize the internal through his idiosyncratic topological models.
Text and Images via PDR
OWEN SCHUH: “Through research and experimentation I choose mathematical functions that model the interactions and structure of living systems. Cellular Automata, circle packing, fractals and other topics in discrete mathematics form the basis of my work. These functions bear the structure of life, but operate in the parallel world of the mind: a world of simulacra inhabited by numbers and abstract relationships. The mathematical formula is a virus that depends on a host to carry out its peculiar kind of life until it terminates or the medium or the artist is exhausted. In the end the painting is really only the physical trace of this activity – a shell left behind on the beach.”
In recent years the world has borne witness to numerous confrontations, many of them violent, between protesters and authorities at pivotal gatherings of the world’s political and economic leaders. While police and the media are quick to paint participants as anarchistic thugs, accurate accounts of their ubsequent treatment at the hands of authorities often go untold — as well as the myriad stories of corporate and government corruption, greed, exploitation, and abuse of power that inspired such protests in the first place. In this startling, politically astute graphic novel, Gord Hill (The 500 Years of Resistance Comic Book) documents the history of capitalism as well as anti-capitalist and anti-globalization movements around the world, from the 1999 Battle of Seattle against the World Trade Organization to the Toronto G20 summit in 2010. The dramatic accounts trace the global origins of public protests against those in power, then depict recent events based on eyewitness testimony; they go far to contradict the myths of violence perpetrated by authorities, and instead paint a vivid and historically accurate picture of activists who bring the crimes of governments and multinationals to the world’s attention.
As the Occupy movements around the world unfold, The Anti-Capitalist Resistance Comic Book is a deft, eye-opening look at the new class warfare, and those brave enough to wage the battle.
Book description via Perseus Academic
A powerful and historically accurate graphic portrayal of Indigenous peoples’ resistance to the European colonization of the Americas, beginning with the Spanish invasion under Christopher Columbus and ending with the Six Nations land reclamation in Ontario in 2006. Gord Hill spent two years unearthing images and researching historical information to create The 500 Years of Resistance Comic Book, which presents the story of Aboriginal resistance in a far-reaching format.
Other events depicted include the 1680 Pueblo Revolt in New Mexico; the Inca insurgency in Peru from the 1500s to the 1780s; Pontiac and the 1763 Rebellion and Royal Proclamation; Geronimo and the 1860s Seminole Wars; Crazy Horse and the 1877 War on the Plains; the rise of the American Indian Movement in the 1960s; 1973’s Wounded Knee; the Mohawk Oka Crisis in Quebec in 1990; and the 1995 Aazhoodena/Stoney Point resistance.
With strong, plain language and evocative illustrations, The 500 Years of Resistance Comic Book documents the fighting spirit and ongoing resistance of Indigenous peoples through five hundred years of genocide, massacres, torture, rape, displacement, and assimilation: a necessary antidote to the conventional history of the Americas. Includes an introduction by activist Ward Churchill, leader of the American Indian Movement in Colorado and a prolific writer on Indigenous resistance issues.
Book description via Perseus Academic
About the Authors
Gord Hill: Gord Hill is a member of the Kwakwaka’wakw nation in British Columbia. He has been active in Indigenous resistance, anti-colonial, and anti-capitalist movements since 1990. He is also the author of The 500 Years of Indigenous Resistance, a slim volume of history published by PM Press (and distributed by AK Press) in 2009 that is a companion to the graphic novel.
Ward Churchill: Ward Churchill is a writer, political activist, and co-director of the American Indian Movement of Colorado. He is the author of numerous books on political and Indigenous peoples’ resistance, including On the Justice of Roosting Chickens, Struggle for the Land, and Acts of Rebellion.