Get an advance look at the next instalment in the acclaimed series.
Some just edited a cut of Inside Out with only the "outside" parts.
University of Utah film student Jordan Hanzon created a wonderful edit of the Pixar film Inside Out where all of the "Inside" scenes have been removed.
Interior paintings portray life at its most banal, and also at its most intimate. Preview a selection of interiors here in this excerpt from Fine Art Connoisseur magazine.
As The Matrix 4 is announced, Ralph Jones explores the legacy of its best-known special effect:
Barbara Peacock is a successful American commercial photographer based in Portland, Oregon. She has recently started a new project where she aims to photograph the hidden and transparent complexities of who Americans are as individuals and a nation through detailed and intimate portraits taken in the bedrooms across the USA.
In his book "DISKO" photographer Andrew Miksys documents Lithuanian teens in village clubs. The project captures an astonishing mixture of Soviet-era debris and a hopeful new generation.
Richard Kern's Fingered (1988) is one of the masterpieces of the Cinema of Transgression movement. With bruising performances by Lydia Lunch, Marty Nation, and Lung Leg, the film scandalized critics and incited protesters to attack
To coincide with Female in Focus 2021, Kateryna Radchenko, founder and curator of Ukraine’s only contemporary photography festival, discusses Ukrainian women’s contribution to the medium in the context of the country’s cultural and historical tensions
Original oil paintings by Nick Alm. Oljemålningar av Nick Alm. Contact [email protected] for inquiries.
Indoor Snowfield - a very strange encounter. Walking around the buildings of this former sanatorium and suddenly it's snowing inside and it even made its own little snowfield.
How your movie magic is made.
There's good reason why people keep hitting the pause button during these scenes
Some photographers have made names for themselves by creating and photographing extremely detailed dioramas: miniature tabletop scenes that are so
In his book "DISKO" photographer Andrew Miksys documents Lithuanian teens in village clubs. The project captures an astonishing mixture of Soviet-era debris and a hopeful new generation.
Comic-Con provides a unique vantage point on the digital future of the popular arts. The invention of digital media had an obvious quantitative impact on art, but I always listen at Comic-Con for early evidence of a qualitative impact. Everybody knows the quantitative benefits: computers enhance the efficiency, speed and precision of the creation and distribution of images. They permit sharper, more consistent pictures than traditional tools can. They expand the range of possible subject matters by overcoming previous limitations on scale. For example, animators today have the ability to show individual strands of hair, or flowers in a field, or faces in a crowd that once would have been economically impossible to convey. Yet, it is not clear that any of these miracles crosses the line between quantitative and qualitative change. Contrast digital art with the invention of oil paint, for example. Many historians believe the invention of oil paint transformed the nature of art qualitatively. It gave artists versatility and sensitivity to create rich, glowing surfaces (such as polished marble, radiant jewels and-- most importantly-- human flesh). This is supposed to have helped inspire the transition from the medieval obsession with the afterlife... to the Renaissance focus on the human body and our physical world. For me, the most fascinating question about the future of digital art is whether HCI (human-computer interaction) has the potential to trigger a similar kind of change. Can it help make our images more sensitive? Better designed? Can it lead to better compositions? More poignant or evocative or profound images? Can it help make artists visually smarter, or perhaps release some primal aspect of aesthetic communication that has been straightjacketed so long by the limitations of earlier media we're not even aware of it? One of the more promising areas discussed at Comic-Con emerged in a presentation by USC professor Henry Jenkins on "Transmedia," which he defined as: The systematic dispersion across multiple platforms of a unified and coordinated entertainment experience, with each platform making its own contribution. While in many respects transmedia is a marketing concept, it can also alter our experience of creative content by mixing genres together in what seems to be a new and potentially rich way. Digitalization enables people to become part of a movie, or to experience the movie through multiple points of view; to immerse themselves in a story and to later extract parts of it to take back to their own world; to incorporate the content in their own play (think of people using youtube to adapt and perform their own versions of the songs they see on Glee); to move the content from one medium to another, the way bees cross-pollenate. Jenkins impressed me as smart and disciplined. It's too early to tell, but this strikes me as a variation on the creative experience worth thinking about as we shape our stories and other creative content.
Photographer Karen Jerzyk creates surreal works that use often overlooked spaces and themes of both horror and the fantastic. Despite what seems like a complex narrative in each piece, the artist insists that each photo is open to interpretation. She simply aims to invoke “thought and emotion.”
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Bruce Nauman - “Green Light Corridor” 1970
On Graphic Tide we like to share the latest inspiration, advice, tips and knowledge on all areas of art and design. We believe that it’s important that we show you inspiration to fuel your next project, or maybe even a t-shirt submission project to us! Today’s post is all about Royal Academicians’ and their studios, as all of these artists which I am showing you are highly known with their field for showcasing art of the highest quality. Showcasing Ken Howard, Michael Craig Martin and Grayson Perry, whose work...
