Monday, December 10, 2007

Ben Shahn

Art, as I saw it one day when I helped hang a National Academy show while I was a student there, was about cows. In those days, early in the twenties, there were many cow paintings. More than that, the cows always stood knee-deep in purple shadows. For the life of me I never learned to see purple where there was no purple -- and I detested cows. I was frankly distressed at the prospects for me as an artist.

But there came a time when I stopped painting, stopped in order to evaluate all these doubts. If I couldn't see purple where there was no purple--I wouldn't use it. If I didn't like cows, I wouldn't paint them. What then was I to paint? Slowly I found that I must paint those things that were meaningful to me--that I could honestly paint in the shapes and colors I felt belonged to them. What shall I paint? Stories.
- Ben Shahn

Michelle Town

Monday, November 5, 2007

Michelle Thompson

Michelle Thompson is a British illustrator. Her projects are mainly for advertising, publishing and designers.
Her media is letterpress, a camera, scanner and a computer. She describes her style as, 'digital and handmade collage.'

Computer Art

''A revolution has taken place. The digital revolution has altered the nature of illustration beyond recognition – taking it from cottage industry to household phenomenon…
Things weren’t always this way. Before the digital revolution, life as an illustrator was fairly straightforward, or so it seemed – there was no Bill Gates, no Apple, no Photoshop, no Google, no internet, no email… no hassle. Looking back at life before the revolution, albeit through rose-tinted specs, the working day for your lone illustrator was a fairly simple affair. In fact, depending on just how far back you wish to peer, it’s clear to see just how much has changed.''


''Australian design and art collective RINZEN is best known for the collaborative approach of its five members, forming in 2000 as a result of their visual and audio remix project, RMX.

RINZEN's work, created both individually and as a collective, covers a wide-range of styles and techniques, often featuring utopian alternate realities, bold, geometric designs or intricate, hand drawn studies.

The group's posters and album covers have been exhibited at the Louvre and their large scale artwork installed in Tokyo's Zero Gate and Copenhagen's Hotel Fox. They recently designed the inaugural issue of Paul Pope's Batman for DC Comics and graphics for a bicycle released by Japanese company, Bebike.

Members of the group are variously based in Berlin, Brisbane, Melbourne and New York.''

Rinzen is:
Steve Alexander (Berlin)
Rilla Alexander (Berlin)
Adrian Clifford (Brisbane)
Karl Maier (Melbourne)
Craig Redman (New York


Jonny Hannah

''Jonny Hannah

Born & bred in Dumfermline, Jonny studied illustration at Liverpool Art School and then the Royal College of Art.

Since graduation in 1998 he has been working both as a commercial designer & illustrator (his clients include The Daily Telegraph, The New York Times & The St. Kilda Courier) and printmaker, creating wonderful screen printed books, posters and prints for his own Cake & Ale Press. A passionate music lover, his ‘Hot Jazz Special’ - a book of red-hot rhymes and bold poster-style art - took 2nd place in the 2005 V&A Illustration Award.''

Georg Barber

Stanley Donwood

''Stanley Donwood is best known for his Radiohead artwork and covers, but his screenprints, expressive works that arent afraid to address good old-fashioned fears, can stand on their own as they continue to capture the zeitgeist. Happy Family shows a family heading into their bomb shelter, built with supplies suggested by the UK government. Donwood peppers his work with references to thin ice, lack of escape and other cheerless notions, like the very simple and direct Lost Child. Minotaur is a poignant symbol for our basic fear of otherness, a mythological creature who is depicted weeping, but unable to show or feel regret. Donwoods website also offers a variety of atmospheric prose worth investigating.''

Artist: Stanley Donwood

My Every Day Life

Title: Suburbian
Suburbian (screenprint) A screenprinted version of one of my favourite images created in 2006 in a weird cabin place up in the Chiltern Hills west of London.
My Every Day Life

Marion Deuchar

Chris Ede

''Chris Ede lives and works near Chichester on the sunny south coast of England as a freelance illustrator. He has a rough hand drawn style with elements of textures, ink splats and brush marks. This is all brought together in photoshop where he manipulates and composes the final image. 

Chris graduated in 2006 with a first class honours degree in illustration at Portsmouth University. Since then he was chosen my a panel of judges to take part in the London Design Festival and showcased at the New Designers Selection exhibition. This was a focused showcase of the 50 leading voices that emerged from the New Designers show. 

Recently Ede was featured in the AOI Images 31 tour and book as well as Computer Arts and Digital Arts.''


Friday, November 2, 2007

Andy Warhol

''Andrew Warhola (August 6, 1928 — February 22, 1987), better known as Andy Warhol, was an American artist who became a central figure in the movement known as Pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, an avant-garde filmmaker, a record producer, an author and a public figure known for his presence in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy aristocrats. A controversial figure during his lifetime (his work was often derided by critics as a hoax or "put-on"), Warhol has been the subject of numerous retrospective exhibitions, books and documentary films since his death in 1987. He is generally acknowledged as one of the most influential artists of the twentieth century.''


Robert Rauschenberg

Robert Rauschenberg
andy warhol
Untitled, 1963. Oil, silkscreened ink, metal, and plastic on canvas, 82 x 48 x 6 1/4 inches. Solomon R. Guggenheim Museum, Purchased with funds contributed by Elaine and Werner Dannheisser and The Dannheisser Foundation. 82.2912. © Robert Rauschenberg/Licensed by VAGA, New York, NY.

''In 1962, Rauschenberg first used commercially produced silkscreens to make large-format paintings based on his own photographs and found media images. These silkscreens may be considered an extension of the transfer drawings he executed between 1958 and 1962, in which he directly transferred the contents of newspapers and magazines onto sheets of paper. Since he could photographically enlarge imagery on the silkscreens, this process freed him from the scale restrictions of the transfer technique and allowed him to easily reuse images in varied contexts, and as he wrote in a text within his print Autobiography (1968), “Began silk screen paintings to escape familiarity of objects and collage.”
Barge, comprised of a single canvas measuring more than 30 feet in width, is the largest of the silkscreened paintings. This monumental work in black, white, and gray incorporates many of the motifs that Rauschenberg used again and again in his 79 silkscreen paintings: the urban environment, athletes, space exploration and flight, modes of transportation, and examples from art history. As was typical of his practice, Rauschenberg first explored this new medium in black and white; by summer 1963 he had introduced color. These paintings, including Untitled, best demonstrate the ways in which the artist exploited the imperfections of the silkscreen process, such as subverting a perfect registry by not aligning the screens or by not using all of the colors in the four-color process (blue, red, yellow, and black). The gestural application of color in certain areas and the addition of found articles (a technique reminiscent of his earlier Combines), like the metal and plastic objects in Untitled, assert their handmade nature. His works also include personal references. In Untitled Merce Cunningham, with whom Rauschenberg has collaborated on theater and costume design since 1954, is the central image. The use of recognizable popular imagery and the application of a commercial technique led critics to identify Rauschenberg with other artists working in this idiom, including Andy Warhol, who also began to use the silkscreen process in his work at this time.''


Tuesday, October 2, 2007