ARTOGETHER


THIS IS A COLLECTION OF ART THAT BELONGS TOGETHER.
THROUGH AND FOR INSPIRATION AND PRACTICE.


MEMBERS

eastasianstudiestumbl:

I just happened across this series entitled After Master by Yin Xin. By far my faourite is the Birth of Venus. Yin has taken classic master paintings and replaced their Western subjects with Chinese ones. LOVES IT. 

  • Top is Birth of Venus by Boticelli.
  • Dejeuner Sur L’Herbe by Manet.
  • Venus and the Lute Player by Titian
  • Mona Lisa by Da Vinci

broadbandchampion21:

Alexander McQueen Fall/Winter 2002 Campaign

This is, by far, one of the cleverest things I’ve seen - Damien Hirst being referenced in this dark, bizarre campaign with a really cool twist and high drama. This is exactly the sort of thing that I find so interesting about fashion as an art form and a cultural statement. Bravo, floating Alexander McQueen.

nyctaeus:

Damien Hirst, ‘The Acquired Inability to Escape’, 1991, Glass, steel, silicone rubber, Formica, fibreboard, chair, ashtray, lighter and cigarettes.
"The Acquired Inability to Escape is a sculptural installation comprising an office table and chair enclosed in a vitrine or cell. Supported by heavy steel frames held in place by large bolts, the cell’s thick glass walls invite the viewer’s gaze while emphasising the sealed condition of the space inside. The cell has two chambers, divided by a wall of glass, which is itself divided into two sections separated by a 45mm gap that allows the passage of air. The larger chamber is just big enough to contain the long rectangular desk and chair; the smaller is narrow and empty. Lying on the white laminate surface of the table, a packet of Silk Cut cigarettes, a white Bic lighter, and a glass ashtray containing cigarette butts and ash suggest the presence of an invisible and anonymous occupant. In contradiction to this, the black office chair, of the sort that rotates and is height adjustable, is pulled up close to the table in order to fit into the claustrophobic space, leaving no room at all for a human body.”

nyctaeus:

Damien Hirst, ‘The Acquired Inability to Escape’, 1991, Glass, steel, silicone rubber, Formica, fibreboard, chair, ashtray, lighter and cigarettes.

"The Acquired Inability to Escape is a sculptural installation comprising an office table and chair enclosed in a vitrine or cell. Supported by heavy steel frames held in place by large bolts, the cell’s thick glass walls invite the viewer’s gaze while emphasising the sealed condition of the space inside. The cell has two chambers, divided by a wall of glass, which is itself divided into two sections separated by a 45mm gap that allows the passage of air. The larger chamber is just big enough to contain the long rectangular desk and chair; the smaller is narrow and empty. Lying on the white laminate surface of the table, a packet of Silk Cut cigarettes, a white Bic lighter, and a glass ashtray containing cigarette butts and ash suggest the presence of an invisible and anonymous occupant. In contradiction to this, the black office chair, of the sort that rotates and is height adjustable, is pulled up close to the table in order to fit into the claustrophobic space, leaving no room at all for a human body.”

thedemocraticcircus:

Damien Hirst with dead head

thedemocraticcircus:

Damien Hirst with dead head

kinderbaby:

The Dream by Damien Hirst

kinderbaby:

The Dream by Damien Hirst

nyctaeus:

Damien Hirst, ‘A Thousand Years’, 1990, Glass, steel, silicone rubber, painted MDF, Insect-O-Cutor, cow’s head, blood, flies, maggots, metal dishes, cotton wool, sugar and water.
'A Thousand Years' is the first of Hirst’s works in which an arrangement of components is enclosed within a glass vitrine. Within its confines a life cycle is played out. Maggots hatch inside a minimal white box, develop into flies, then feed on severed cow’s head on the floor of the vitrine. Above, hatched flies circle around in the enclosed space. Many meet their end on an Insect-O-Cutor; others survive to continue the cycle. Hirst takes the principle of bringing real objects into the gallery a step further in this work, creating a literal enactment of birth, death and decay. While the glass vitrine alludes to the clean geometry of minimalism, it is filled  with the messy life and death of organic matter.

nyctaeus:

Damien Hirst, ‘A Thousand Years’, 1990, Glass, steel, silicone rubber, painted MDF, Insect-O-Cutor, cow’s head, blood, flies, maggots, metal dishes, cotton wool, sugar and water.

'A Thousand Years' is the first of Hirst’s works in which an arrangement of components is enclosed within a glass vitrine. Within its confines a life cycle is played out. Maggots hatch inside a minimal white box, develop into flies, then feed on severed cow’s head on the floor of the vitrine. Above, hatched flies circle around in the enclosed space. Many meet their end on an Insect-O-Cutor; others survive to continue the cycle. Hirst takes the principle of bringing real objects into the gallery a step further in this work, creating a literal enactment of birth, death and decay. While the glass vitrine alludes to the clean geometry of minimalism, it is filled  with the messy life and death of organic matter.


A VISUAL INTERPRETATION OF MIU MIU’S TOP TEN MODELS
DAIANE CONTERATO at EliteWalked eleven seasons.Miu Miu FW07, SS08, FW08, SS09, FW09, SS10, FW10, SS11, FW11, FW12, SS13Background artwork - Damien Hirst

A VISUAL INTERPRETATION OF MIU MIU’S TOP TEN MODELS

DAIANE CONTERATO at Elite
Walked eleven seasons.
Miu Miu FW07, SS08, FW08, SS09, FW09, SS10, FW10, SS11, FW11, FW12, SS13
Background artwork - Damien Hirst

(Source: gasolinesurf)

carlotta-m:

DUANE MICHALS (B. 1932) Paradise Regained, 1968 a sequence of 6 gelatin silver prints 

carlotta-m:

DUANE MICHALS (B. 1932) 
Paradise Regained, 1968 
a sequence of 6 gelatin silver prints 


Eccentric Growth, Louise Bourgeois, c. 1963-67, red ink on paper

Eccentric Growth, Louise Bourgeois, c. 1963-67, red ink on paper

(Source: female-arthistory)