Part of an occasional series.
Via Not A Real Thing: Below are images made by Flickr user Max Capacity. I gather this person gets these digital cityscape sklyines from video games and adjusts them into the works you see below. Pretty great, if you ask me. (I know you didn’t ask me.) Click any image to go the Max Capacity Flickr image.
Over at Significant Objects, Joshua Glenn highlights the above image, a movie poster, evidence of a possible S.O. meme. I can’t comment on that, but the image did strike an odd chord, reminding me in different ways of other recent object imagery I’ve encountered. These images are all very distinct in their approach (the sorts of objects, the number, etc.), but to my eye at least there’s some visual similarity despite that. See below.
Click any image for more information.
Also, I suppose, many of the images in the Flickr What’s In Your Bag pool.
The current Giant Robot brings my attention to the work of Masakatsu Sashie, and I like it a lot.
Do I like it enough to reverse my decision to let my GR sub lapse? Well, no. But still. Really good stuff. I’d love to see it in real life. Meanwhile, check the artist’s site.
Steve Lambert has images & even a video added to his site in connection with his current show in Los Angeles. Cool stuff, check it out here.
Explanation: “You are looking at ‘la colrita’ ….an original digital photograph of a taco truck. I then digitally manipulate the image and print it on high quality archival paper. Each print is numbered and signed by me. The taco truck series is a limited edition of 100 prints each.” Via Poppytalk.
Randomly encoutnered on the Web site of Handmade Galleries, L.A.: Thumb wrestling masks.
Maybe these are old news. I don’t care.
Wish I could find more images online from this book: “Off The Wall: Political Posters of the Lebanese Civil War.”
The Economist says:
IF THE devil has the best tunes, radicals make the best posters. In Lebanon the propaganda posters of Hizbullah and its allies are a heady mix of bright colour, simple logos and distinctively Arab calligraphy and portraits. The government commissioned Saatchi & Saatchi to make its case in 2006, but its advertising was never as striking as the humblest political placard from the Islamists.
The poster collection in “Off the Wall”, comes from the 20-odd factions of Lebanon’s 1975-90 civil war and shows that the shifting alliance of leftists and other radicals had artistic flair from the outset. Hizbullah, the Communists, the Syrian nationalists and the PLO, among others, harnessed contemporary graphic design and made it their own: Jerusalem in glowing colours features alongside clenched fists and AK-47s; the four-sided Syrian symbol rises like a sun; car bombs go bang like Roy Lichtenstein paintings.