<![CDATA[io9: paintings]]> http://tags.lifehacker.com/assets/base/img/thumbs140x140/io9.com.png <![CDATA[io9: paintings]]> http://io9.com/tag/paintings http://io9.com/tag/paintings <![CDATA[Picasso-Inspired Paintings Melt Familiar Superhero Faces]]> Superheroes are often depicted with exaggerated features, but the artists known as WonderBros take it a step further. Their paintings grossly distort the facial features of familiar superheroes and villains, inspired by the facial distortions found in Pablo Picasso's art.

Artwork So Awesome It will Melt Your Face Off [WonderBros via Walyou — Thanks, jorel845]










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<![CDATA[Nature Reclaims a Post-Apocalyptic Disney World]]> Epic Mickey's stylized concept art is a mecha-filled vision of the Disney apocalypse, but Alexis Rockman's paintings take a more natural view of a post-human Disney World — and imagines other cities and monuments long after we're gone.

[Alexis Rockman via {feuilleton}]

Disney World I
Disney World II
Capitol Hill
Church and White
East 82nd St.
Gateway Arch
Hollywood
Hollywood at Night
Hotelscape
Manifest Destiny
Mount Rushmore
Miami
Vie en Rose
Washington Square

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<![CDATA[See Through The Future Through The Eyes Of Takamatsu]]> Kazuki Takamatsu's paintings may look digital, but his X-Ray-esque visions of the future are entirely handmade. Click through for some beautifully alien takes on girls, machines, cityscapes and weird alien tech. Via














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<![CDATA[Hell is Other Teddy Bears]]> Luke Chueh is best known for his bizarre and often bloody paintings of otherwise adorable bears and bunny rabbits. In his latest series, he reinterprets Dante's Inferno, casting his cute critters as the eternally damned.

Chueh's Inferno series, as well as some of his other paintings, are currently on display at Gallery 1988 in Los Angeles, where he's also selling a limited edition sketchbook explaining the concepts behind each painting.

[Luke Chueh's Inferno via mashKULTURE]

Ring 1: Judgment
Ring 2: The Fornicators
Ring 3: The Gluttonous
Ring 4: The Hoarders
Ring 5: The Wrathful
Ring 6: The Heretics
Ring 7, Inner: The River of Blood
Ring 7, Middle: The Forest of Suicides
Ring 7, Inner: The Desert of Fire
Ring Eight, Bolgia Nine: The Sowers of Discord
Ring 9: The Traitorous

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<![CDATA[The Curious Art of Ghana's Mobile Movie Posters]]> In the days when mobile cinemas first came to Ghana, local artists were commissioned to paint posters promoting the films, posters that often exaggerated the content of the films and took on an artistic life of their own.

In the early 1980s, video cassettes enabled entrepreneurs in Ghana to set up traveling open-air cinemas to bring movies — often Western science fiction, horror, and action films — to remote Ghana audiences. To promote the films, cinema owners would ask artists to paint promotional posters (generally on sliced-up canvas flour sacks) to accompany each cassette and stir up interest in the movies. The artists were encouraged to take considerable liberties with the artwork, and many artists never even viewed the films at all before creating the posters, only hearing them described by the people running the cinemas. Thus, while some paintings are simply copies of the images from the cassette boxes, others are wild interpretations of the movies, paintings that are more inspired by the films than attempts to accurately represent their content.

[ephemera assemblyman, Affiche Museum, Poster Page via Nerdcore]










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<![CDATA[The Art That Lives Inside of Us]]> Vesna Jovanovic's illustrations are inspired by the natural world and the tools science uses to explore it, creating often surreal images of human innards, often combined with twisting lab equipment and machinery.

Jovanovic was inspired to create her current series Pareidolia, when she spilled ink across a piece of paper and began tracing human organs, glassware, and tubes across the pattern of the ink. The series, she says is meant to evoke "the curiosity and fear that are often associated with scientific research." Her other work tends to be science focused as well, such as the first two images below, her "Hybrids," which meld human bodies with parts from other animals and machines.

Pareidolia is currently on display at the International Museum of Surgical Science.

[Vesna Jovanovic]
Interview with Jovanovic on Pareidolia [Seed Magazine]

Reattachment
Timekeeper
Ventricles Apart from Pareidolia
Cordiform from Pareidolia
Radiating Duodenum from Pareidolia
Metalhead Photophore from Pareidolia
Temporal Nexus from Pareidolia
Vital Choice from Pareidolia
Femur Strife from Pareidolia
New Mitosis from Pareidolia

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<![CDATA[Airships Sail Through Tentacle-Infested Skies]]> Steampunk artist Myke Amend's paintings of airships are almost deceptively serene, with ornate ships sailing through icy skies. But tentacles and sea monsters lurk in the background, hinting at high adventure and grave dangers.

The airship paintings are part of Amend's "Airships and Tentacles" series, in which he combines Jules Verne-inspired technology with Lovecraftian monsters. They're all available as prints at Amend's store, which also features Amend's other steampunk-inspired paintings and engravings, such as "Nautilus 20,000 Leagues," also below.

[Myke Amend via Dark Roasted Blend]

Behold the Machine
Antarctic Experiment
Sabicu
Engraving from "Sabicu"
The Rescue
Nautilus 20,000 Leagues

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<![CDATA[Pixar Artists Illustrate The Outer Limits Of Sexuality]]> Pixar's artists definitely have a racy side, even if it doesn't always come out in their G-rated fare. But with The Ancient Book of Sex and Science, the studio's artists let loose with saucy images of science and science fiction.

The Ancient Book of Sex and Science is the second book in a planned four-book series (the first was The Ancient Book of Myth and War and explores the relationship between sex and science in Pixar's familiar, Mary Blair-inspired style. Said editor and Pixar animator Scott Morse:

Well, we're usually pretty introverted, so maybe that makes us a little kinkier. And there's a tradition of us loving Playboy cartoons and naughtier things in general. We all remember drawing in the margins of our textbooks when we were younger.

And he feels the connection between physicality and the exploration of the physical world was a natural one:

They're similar in that they both have correlating patterns, like the rhythm of math and sex, or like music with peaks and valleys, highs and lows. They can both be very calculated.

Below are samples from the book. Somehow, I'll never look at the characters from Monsters Inc. the same way again. Warning: One picture is NSFW, as you can probably tell from the thumbnail.

Forbidden Lust by Nate Wragg
<blockquote>The love she had for this monster of science was forbidden. Every night after hours she would escape down into the laboratory where he was locked away. He satisfied her  insatiable appetite for lust and danger, while she fulfilled his desire for the sensual flesh of a woman. The scientific community frowned upon such a relationship between a girl and a mutant. However, while the scientists' disdain for such sensual acts were strong, they watched. They always watched.</blockquote>
3-Desire the Night by Nate Wragg
<blockquote>I've always been a fan of the illustrated covers of old pulp novels. The combination of a really suggestive title with a flirtatious illustration on the cover has always amused me. In working on the book, I felt it was a great opportunity for me to create my own cover for a racy paperback novel. I liked the idea of people wearing 3-D glasses between the sheets to enhance their sexual experiences, not sure if it works, but my guess is it's all explained in full deatil, you just have to read the book.</blockquote>
Sex and Science by Nate Wragg
<blockquote>As I began working on this book, I found myself heavily inspired by the cover artwork on old science books. A favorite series of mine is "The How and Why Wonder Books." These were informational books that would focus on a certain subject or form of science per book. As I looked over the entire series, I thought to myself, "There is no sex and science issue." This gave me the perfect excuse to create my own volume for the series. The end result is the long lost "Sex and Science" edition that was never published. Even though I was re-creating one of these classic book covers with a twist, I tried to remain true to the way they laid out their covers with artwork and text. After the painting was completed, I brought the piece into the computer to add textures and printing patterns to give it a more authentically aged look.</blockquote>
Lust and a Pink Torso by Don Shank
WMD by Scott Morse
<blockquote>Weapons of mass destruction and women's masturbatory devices are usually phallic in shape to aid with aerodynamics. They often times employ protrusions for added effect and come in a variety of sizes and colors. Their deployment usually amounts to overkill in any given situation but ultimately results in compete [sic] satisfaction upon final resolution.</blockquote>
Mathturbation by Don Shank



[Amazon via Nerve]

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<![CDATA[The Surreal Paintings that Inspired Harlan Ellison]]> In Polish artist Jacek Yerka’s surreal paintings, technology coexists with fantasy, buildings defy logic and gravity, and no boundaries exist between the biological and the mechanical. Although beautiful on their own, they suggest the settings for outlandish tales of foreign worlds, a quality that inspired science fiction writer Harlan Ellison to write an anthology of short fiction based on Yerka’s work.

In 1994, Ellison, inspired by Yerka’s work collaborated with the painter on Mind Fields. Yerka created 34 paintings for the book, and Ellison wrote a short piece of fiction for each painting, latching onto images or themes he saw in them. The piece above, entitled “Fever,” inspired a story which begins:

Icarus did not die in the fall.

What his father, Daedalus, never saw was this:

Icarus fell toward the Aegean Sea; fell through clouds; through billos and canopies and flotillas of clouds; and was lost to the sight of his father. The wings melted and fell away. They were carried on the stratospheric currents, miles away from the drop point at which Icarus had vanished through the cloud foam. When Daedalus banked and swooped and did his air-search, he found the pinions floating in the Sea. But he did not find his son, because Icarus had come down miles away.

[Yerka Land via Zuzu Fan]

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<![CDATA[Fred Einaudi’s Unexpected Visions of the Apocalypse]]> Fred Einaudi’s portraits take the iconic visual language of their subjects – the can-do attitude of women in wartime propaganda posters, the innocence and curiosity displayed in paintings of children, the elegance and drama of Victorian and Edwardian era portraiture – and juxtaposes it with unexpected images of death and destruction. The results are some of the most haunting visions of humans and animals going on with their lives in a devastated world.

The dreamlike images of “Patriot” (at the top) and “Rousseau” (above) suggest a world where most humans and industry have disappeared, leaving just a few human beings to press on. But the monochromatic “Buttonmaker,” “Chocolate Donut,” and “Hungry” suggest additional losses – loss of clean air, loss of limbs – that present a more extreme vision of the new normal.



A few of his paintings depict the things we would leave behind. “Necropolis” shows a snowy boneyard not of our bodies, but of our vehicles, while “Extinction (Study)” reminds us that when we’re gone, our Darwinian betters will move impassively about the last monuments of our existence.


[Fred Einaudi via Coilhouse]

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<![CDATA[The Art of Cowboys and Killer Robots]]> In 2003, artist Sunny Buick conceived and curated SCI-FI Western, an exhibition of art inspired by both science fiction and the American frontier. Taking the analogy of space as the new Old West to the next level, the participating artists juxtaposed B-movie imagery from westerns and science fiction with bizarre and surprisingly poignant results.

Buick's inspiration for the exhibition stemmed from our tendency to romanticize both the future and the past:

Why Science Fiction and Westerns? It is our own interpretation, personal myth and pure fantasy about our past and future. Each opened a world of possibilities, we imagined Time machines that would help us undo our errors and we imagined Space machines that would solve all the world’s problems. Who lives in the present? No one. We’re always holding on to an illusion of our glory days or residing in a dreamland of future utopias. The uncharted territory of the mind can be as lonely as the desert or space, chained to mistakes of yesterday or terrified of the shadowy nightmare of tomorrow. We struggle to make sense of the two. In searching our hopes and fears we uncover treasures in memories and the lessons learned. With this knowledge we create the future through our dreams and imagination.

Buick has made the show's catalogue available on Etsy.

Sci Fi Western Art Exhibition [SpaceWesterns.com]

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<![CDATA[Even Superman And Batman Have Crappy Days Sometimes]]> Superman and Batman sit on the toilet, looking sort of depressed. Why are they so bummed out? It's hard to tell, since I can't read the speech balloons, but maybe they've realized there are some situations that giant muscles just won't solve. It's a typical image for Indonesian artist I. Nyoman Masriadi, who often depicts muscle-bound men and women looking either monstrous or ridiculous. His paintings have been known to fetch up to $360,000 each, and he's won awards, maybe because he's put his finger on a muscle-attenuated nerve? [Bloomberg]

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