art

/  by Thomas DeVoss

archatlas:

Nikolay Polissk 

The unique shift carried out by Nikolay Polissky consists in a change in the way that art functions. His works are created by the inhabitants of the village of Nikola-Lenivets. This fact should not be underestimated: the ideas for the works naturally come from Polissky — it never occurred to the villagers themselves to build a ziggurat of hay or an aqueduct from snow. But at the same time it should not be underestimated. No one in the world has ever had the idea of crossing conceptualism with folk craftwork.

Images and text via + via

/  by Thomas DeVoss

mymodernmet:

A gigantic man crawls out from the earth in this spectacular outdoor sculpture titled Feltépve (“ripped up” or “popped up”) by Hungarian artist Ervin Loránth Hervé. Crafted from polystyrene, the larger-than-life sculpture was temporarily installed in Budapest’s Széchenyi Square for the Art Market Budapest art fair that took place earlier this October.

/  by Thomas DeVoss

ryanpanos:

Intersections | Anila Quayyum Agha | Via

Winner of both the public and juried vote of artprize 2014, pakistani artist Anila Quayyum Agha exercises the architecture of the grand rapids art museum in Michigan by infilling it with a dynamic interplay of shadow and light.‘Intersections’ comprises a 6.5-foot laser-cut wooden cube pierced with carefully crafted patterns and illuminated from the inside, which casts expansive, lace-like geometries onto the surrounding walls, ceiling and floor.

/  by Thomas DeVoss

femme-de-lettres: Large (Wikimedia) Ferdinand Georg Waldmüller painted The Roman Ruins in Schönbrunn in 1832. I’ve always found Waldmüller’s body of work surprisingly incongruous. His genre scenes—paintings of every-day life—consist almost entirely…

femme-de-lettres:

Large (Wikimedia)

Ferdinand Georg Waldmüller painted The Roman Ruins in Schönbrunn in 1832.

I’ve always found Waldmüller’s body of work surprisingly incongruous. His genre scenes—paintings of every-day life—consist almost entirely of idealized, moralizing images of smiling rural families and occasional heavy-handed religious themes. They read almost as parodies of the pastoral ideal.

Yet his still-lives (and, as seen here, his landscapes) manage to be realistic—but also full of life; the statues in the middle seem mere moments from turning around, highlighted as they are by the little patch of sun through the arch.

/  by Thomas DeVoss

headyhunter:

Michael Grab has mastered the art of stone balancing. He explains how he does it. “The most fundamental element of balancing in a physical sense is finding some kind of “tripod” for the rock to stand on. Every rock is covered in a variety of tiny to large indentations that can act as a tripod for the rock to stand upright, or in most orientations you can think of with other rocks. By paying close attention to the feeling of the rocks, you will start to feel even the smallest clicks as the notches of the rocks in contact are moving over one another. In the finer point balances, these clicks can be felt on a scale smaller than millimeters. Some point balances will give the illusion of weightlessness as the rocks look to be barely touching. Parallel to the physical element of finding tripods, the most fundamental non-physical element is harder to explain through words. In a nutshell, I am referring to meditation, or finding a zero point or silence within yourself. Some balances can apply significant pressure on your mind and your patience. The challenge is overcoming any doubt that may arise.”

Find more heady works at www.headyhunter.com

/  by Thomas DeVoss

likeafieldmouse:

Alfredo Jaar - Venezia, Venezia (2013)

“A pool filled with lagoon water from which every 3 minutes a replica of the Giardini in Venice emerges for a few seconds and then sinks back down, as if a mysterious and lost civilization were rising back to life.”