#280

The cleaver design of Patrick Thomas

Images via nellyduff

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#242

Paintings by Alberto Mielgo

The video shows the process and below we can see the finished artwork.

Posted by Gus Bozzetti

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#229

If it is raining outside let’s put some astonishing and colorful paintings here by the Spanish artist Yago Hortal to cheer up our soul! Have a nice week! ;)

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#200

Today is a special day! We have so far published 200 posts. Every day, except the weekends (because it’s not an obligation, it’s a pleasure) there is a special artwork to be seen here!

Thanks to Fernanda Marth, who every single Friday collaborates with this blog and to Pedro Perurena, who occasionally, but not less important, contributes here too. Thanks to all the subscribers, the artists and galleries that send me by email their news and suggestions, the twitter followers and to you that come here to check out the daily post because you like art as much as me! ;)

So to celebrate the day, I choose Joan Miró’s work. I’ve been at Tate Modern a few weeks ago and I was absolutely amazed by the huge and well -done exhibition. It’s the first major retrospective called The Ladder of Scape at Tate for nearly 50 years. Miró had completely changed his style along the years and you will see here a chronological order of some of his important paintings and the ones that I like most.  Enjoy ;D Luana

“I understand the artist to be someone who, amidst the silence of others, use his voice to say something, and who has the obligation that this thing not be useless but something that offers a service to man. For the fact of  being able to say something, when the majority of people do not have the option of expressing themselves, obliges this voice in some way to be prophetic. To be, in a certain sense, the voice of its community…For when an artist speaks in an environment in which freedom is difficult, he must turn each of his works into a negation of the negations, in an untying of all oppressions, all prejudices, and all the false established values.” Joan Miró, 1979

The Rut, 1918

The Farm, 1921

Catalan Landscape (The Hunter), 1923

Harlequin’s Carnival, 1924

Catalan Peasant with a guitar, 1924

Head of a Catalan Peasant (Tête de Paysan Catalan), 1925

Dog Barking at the moon, 1926

Painting, 1927

Painting (Head), 1927

Still Life with Lamp, 1928

The two philosophers, 1936

Head, 1937

Still Life with Old Shoe, 1937

Portrait IV, 1938

The passage of the divine bird, 1941

Women encircled by the flight, 1941

Blue III, 1961

Burnt Canvas I, 1973

The Hope of a Condemned Man I, 1974

Fireworks I, 1974

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#197

SOMETHING IS ABOUT TO HAPPEN

Mogollon is an art collective founded by the duo artists Francisco Lopez and Monica Brand. The name also means ‘Plenty or Abundance’ in Spanish language.

They are presenting this show at Diesel Art Gallery in Tokyo, Japan until August 14th 2011.

I love when brands support creative stuff. ;D

via yatzer

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#195

Content is Queen: a generative video painting by Sergio Albiac

This video art reflects on the foundations of democracy against the resilient nature of structures of power. There is double sense here since he talks about the Queen avoiding the conventional painting technique by using an innovative method.

In this project, he paints through fragments of videos at different sizes on a digital canvas.

Via sergioalbiac.com

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#179

“I like to see objects as living organisms, imagining them coming alive and being able to surprise you with their behaviour. I want to create objects with my hands, then I can give them my personality. I turn them into communicative objects that can arouse one’s sensations and imagination. In short, what I want to create are objects with a fictional or fantasy element, that allow you to escape everyday life.” –Nacho Carbonell–

Skin Collection

Pump it Up

Via nachocarbonell.com

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#21

New way of making street art in Spain by La Pluma Eléctri*k

#7

Bestué/ Vives. Live and work in Barcelona is a performance by David Bestué and Marc Vives from Spain. That is an interesting video and according to the authors there is a particular visual language, as much based on Dadaist or even Situationist strategies as it is on theatrical practise and early film productions. It is also a poetic obsession with detail.