A Reissued Book Reveals Hundreds of Photos from Frida Kahlo’s Personal Collection
Art
History
Photography
#art history
#black and white
#books
#Frida Kahlo
December 16, 2023
Grace Ebert More
Subterms
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Art
History
Photography
#art history
#black and white
#books
#Frida Kahlo
December 16, 2023
Grace Ebert More
150 Shares189 Views
in Art
Art
Illustration
#Anastasia Parmson
#black and white
#drawing
#furniture
#installation
#sculpture
#site-specific
September 19, 2022
Grace Ebert More
113 Shares169 Views
in Art
Art
Photography
#black and white
#identity
#portraits
#self-portrait
#Zanele Muholi
September 12, 2022
Grace Ebert More
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in Art125 Shares109 Views
in Art
Art
Illustration
#black and white
#drawing
#graphite
#surreal
November 1, 2021
Grace Ebert
“Pinoccio.” All images © David Álvarez, shared with permission
Continually fascinated by the potential of the human figure, Mexico-based artist David Álvarez (previously) illustrates richly textured scenes with a dose of fantasy and surrealism: a bird’s perch transfixes a character who’s sprouted a branch nose, a man writhes on the ground as he grows from a gnarled stump, and a Cheshire cat lifts a blanket to unveil a moon hidden beneath. Underlying many of his works is “the expressive force and the gesture of the human body,” Álvarez tells Colossal, themes that are rendered through highlights and dense markings in graphite that add intrigue and mystery to the monochromatic depictions.
The illustrations shown here are a mix of personal projects and commissions, and “Cage” is slated for the cover of Álvarez’s forthcoming book about overcoming prejudices and stereotypes called Bird Woman. You can follow his black-and-white works on Instagram, and shop sketches, prints, and originals.
“Monkeys”
“Metamorpho”
“Agony”
Left: “Cage.” Right: “The Collector”
“Awareness”
“Cheshire”
“Mice”
#black and white
#drawing
#graphite
#surreal
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in Art
Art
#anamorphosis
#black and white
#installation
#public art
#street art
#trompe l’oeil
March 23, 2021
Grace Ebert
“La Ferita” (2021), 28 x 33 meters, Palazzo Strozzi, Florence. Image courtesy of Fondazione Palazzo Strozzi, shared with permission
French artist JR unveiled an imposing artwork at Palazzo Strozzi in Florence last week that mimics a massive gash in the institution’s Renaissance-era facade. Spanning 28 x 33 meters, “La Ferita,” or “The Wound,” is an anamorphic collage that appears to reveal the iconic artworks housed inside the building, in addition to a stately courtyard colonnade, exhibition hall, and library. Exposing different parts of the interior as the viewer shifts position, the artwork is in response to the lack of accessibility at cultural institutions since the onset of the COVID-19 pandemic.
Completed alongside a team of 11 in two months, the site-specific piece was constructed 30 centimeters in front of the 15th Century ashlar facade with a metal structure and 80 panels of Dibond aluminum. It features JR’s signature photographic style—similar projects were installed at Williamsburg’s Domino Park, the Louvre, and the U.S./Mexico border—and includes a mix of real and imagined elements, including black-and-white renderings of Botticelli’s “Primavera” and “Birth of Venus” and Giambologna’s “The Rape of the Sabine Women,” in addition to prominent spaces like the Istituto Nazionale di Studi sul Rinascimento.
“The Wound” is layered further with references to art history, from its use of the trompe l’oeil technique that grew in popularity in the 1500s to its evocation of ruinism, an 18th Century style that portrayed ancient architecture “as testimonials to a glorious past in a dramatic reflection on the fate of mankind,” a release says, noting that Palazzo Strozzi will not be preserving the piece beyond its initial construction.
Follow JR’s monumental works on Instagram, and shop lithographs and books chronicling his projects on his site.
#anamorphosis
#black and white
#installation
#public art
#street art
#trompe l’oeil
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in Art
Animation
Art
#black and white
#short film
#surreal
#video
October 30, 2020
Grace Ebert
Presented by the National Film Board of Canada, an animated short by Montreal-based director Alex Boya considers the complex effects of war through a heartwarming tale. “Turbine” opens with a woman climbing aboard a train that inches along the track like a worm. The black-and-white film then chronicles her journey reuniting with her pilot husband, who returns from war with an airplane engine permanently replacing his face and subsequently falls in love with the ceiling fan.
Through incredibly rich renderings—the wrinkles on the characters’ hands and the whorling patterns in their hair are particularly detailed—Boya depicts peculiar scenes and quiet domestic moments to share a story about love, humanity, and transformation. In an interview about “Turbine,” the director says the film’s distinct style came about organically:
It felt like creating sober instructional illustrations of real things, with an honest attempt to simply survey their opaqueness and shadows in a photorealistic world. Just like I focus on the water instead of on my body when I swim, it works not to think of style, but simply on the subject matter that is being drawn.
For more short films, see the board’s Instagram and Vimeo, and check out Boya’s site to explore the entire Turbine Universe, which is complete with dozens of sketches and gifs of the hybrid character.
#black and white
#short film
#surreal
#video
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in Art
Art
#activism
#black and white
#charcoal
#graphite
#hyperrealism
#portraits
September 19, 2020
Grace Ebert
“Mindless #3.” All images © Arinze Stanley, courtesy of Corey Helford Gallery, shared with permission
Arinze Stanley describes his hyperrealistic drawings as “a simple language of my feelings.” In a statement about his new series titled Paranormal Portraits, the Nigerian artist (previously) says he uses his art as a form of political activism and as a way to amplify the voices of those who are unheard. Stanley noes that the relationships he fosters with his subjects are complicated and more often a reflection of himself:
In my opinion, artists are custodians of time and reality, hence why I try to inform the future about the reality of today, and through these surreal portraits seen in my new body of work, Paranormal Portraits, navigate my viewers into what is almost a psychedelic and uncertain experience of being Black in the 21st Century.
Using graphite and charcoal pencils, Stanley draws with such detail, capturing a stray hair or glimmer of beading sweat. Whether featuring a subject wrapped in hands or dripping in paint, the monochromatic portraits are intimate, expressive, and “born out of the zeal for perfection both in skill, expression, and devotion to create positive changes in the world. I draw inspiration from life experiences and basically everything that sparks a feeling of necessity,” Stanley says.
If you’re in Los Angeles, Stanley’s work will be on view at Corey Helford Gallery starting October 3. Otherwise, head to Instagram and check out this video from Great Big Story capturing his deftly rendered artworks.
“The Machine Man #7”
Left: “People and Paper #1.” Right: “The Machine Man #6″
“Paranormal Portrait #3”
#activism
#black and white
#charcoal
#graphite
#hyperrealism
#portraits
Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!
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