I recently turned 50, and so it seemed a bit prophetic to have seen these two works of street art a few feet away from each other. I saw them on West 22nd Street between 10th and 11th Avenues in New York City. I’d guess they’re by two different artists, but they certainly seem to work well together, theme-wise, don’t you think?
What do you think of this statement? I kind of like it … sticker art by Portland-based street artist “Rx Skulls” as seen on Chartres Street in New Orleans. To learn more about this artist, check out his website here.
Here’s two different views of Joel Shapiro’s bronze sculpture titled “Two,” from 2015, located on 8th Avenue across the street from Penn Station. The one with snow is from January 7th, and the one without is from January 20th. Seeing these two figures “dance” in snow certainly has a different look and feel than the clean and minimalist non-snowy version.
I have a habit of seeing things that may or may not be there … visual references to art seem to come up on a regular basis. Like the time I saw a Notre Dame gargoyle in a messed-up hard-boiled egg … or Hokusai’s famous “Wave” print on the sidewalk … now I’m seeing a face in my Kleenex box! Below left is the straight photo of how my Kleenex box sits in my bathroom, and below right I mark it up with where I’m seeing a reference to what looks like a single eye, a nose, and very grim, pursed lips. Do you see it? Scroll down for more …
So, now that I see the face in the Kleenex, I’m trying to think: what famous portrait do I know that has a similar grim, tight-lipped mouth like that? And like magic, Grant Wood’s Self Portrait from 1932 seems to match up pretty well. Below we show the Wood portrait, followed by my Kleenex concept, with the final image showing an overlay to see how the Kleenex features match up proportionally. What do you think? Am I nuts? Or is Grant Wood in my Kleenex box?
Actually, now that I think of it, this may be the first time I’ve seen something in the Kleenex tissue, but the Kleenex boxes have been giving me visual associations too, like the African mask here and the woman’s profile here.
When I first saw this two-family house on Magazine Street in the Garden District of New Orleans, I thought both tenants were in nearly perfect symmetry – the same color door and window frames, two dark blue chairs on either side of both front doors, identical mailboxes … but then I noticed the right side blew it by having something in the door window. Oh well …
I saw this truck parked on Chartres Street in New Orleans, and my first thought was that the hood would make a great abstract expressionist painting. One might argue that it bears a slight resemblance to a Franz Kline painting – scroll down below the truck to see Kline’s painting “Buttress” from 1956.
What do you think? Does it at least qualify for “in the style of …?”
I saw both of these on sidewalks in NYC the other day. Below left we have “Cats Rule, Dogs Drool,” and below right we have what looks like a bumpy dinosaur or pterodactyl, but I’m having a hard time making out what the word below it is supposed to be … if you know anything about this one, please share in the comments section below.
I’m sure most people are familiar with artist Robert Indiana’s “LOVE” art works, including the sculpture (below left) which resides on 6th Avenue in New York City, and the painting (below right) on canvas, which resides in the Indianapolis Museum of Art. Scroll down for the “LOVE” I saw in New Orleans.
I saw this “LOVE” on Saint Ferdinand Street, not far from the corner of Chartres Street, in New Orleans. This one is definitely NOT by Robert Indiana, but it still spells out the message of “LOVE.” Or might this be a message of “broken love,” since the concrete letters are indeed broken and laying on the ground? What’s your interpretation? Feel free to share your thoughts in the comments section below.
I went into NYC today and saw a number of gallery exhibitions, and I think my favorite show was Barry McGee’s new work at Cheim & Read. I’ve been a fan of McGee’s work for a long time, and I love the fact that this exhibition includes well over 100 works that cover the walls, floors, corners, and all sorts of unexpected gallery placements. He even has a collection of surfboards that stack up to the ceiling (below right). I’m going to have more on this exhibition in the near future, but in the meantime, if you’re in the NYC area, try to catch this show before it closes on February 17th, 2018.
Below left we have a photograph of artist Salvador Dali taken by Philippe Halsman, and below right we have an interesting re-interpretation of this image by French artist Bernard Pras. But there’s something very unusual about Pras’ work: it only looks like Dali if you look at it straight-on. Scroll down for an explanation …
Bernard Pras is well-known for his series of “Anamorphosis” art works. An anamorphosis is a distorted image which require the viewer to use special devices or have a specific vantage point (or both) in order to correctly see the image. As you can see, Pras’ work also has a random collection of objects making up the image – he looks to use what he calls “objects of recovery,” including things such as musical instruments, toys, plastic waste and household objects, among many other things. So you can see how he has assembled these objects to make it look like Dali from straight-on (above), but here’s how the same piece looks from the side:
It’s worth noting that the selection of an image of Salvador Dali by Bernard Pras for an “Anamorphosis” piece makes a lot of sense, considering Dali himself liked to employ the same technique at times, as you can see in this feature we did on Anamorphic Art by Salvador Dali. Bernard Pras is a painter, photographer and sculptor who has spent more than 20 years perfecting his craft. Click on his name at the top of this post to see his website.