View allAll Photos Tagged ArtAndDesign
City art using old repurposed wooden escalators.
www.theguardian.com/artanddesign/2017/dec/05/wynyard-stat...
www.guardian.co.uk/artanddesign/2012/feb/07/antoni-tapies
this is a piece made by me, i wouldn't dare to say that it is as good as his artwork......
Highgate Cemetery
This image was reviewed by the Guardian's Camera Club: "A Cemetery can be an extraordinary place to photograph, and here the bedraggled teddybear in 'Highgate Cemetery' is a poignant image indeed; the perfect focus, combined with the minimal depth of field ensure a readable and vivid photo."
A photographic project involving a gentleman with Parkinson's Disease who has been photographed over the last four years by 145 different photographers.
A real challenge as he has already had his portrait taken by some of the best known photographers in the uk.
The now removed and sold Hula-hooping girl by Banksy, in Radford, a district in Nottingham, Nottinghamshire.
Painted in black and white, the tongue-in-cheek image sits just behind a battered bike, with a missing tyre, chained to a lamp post with an infinity lock. The inclusion of a bike in the installation was taken as a reference to the now shuttered former Raleigh plant that provided so much employment to the area. The hula-hoop girl felt instantly, intrinsically connected to the city.
Surinder Kaur, 42, who runs the beauty salon next to the mural, said the bike had appeared at the same time as the mural. She said within hours the council had rushed to protect the piece by placing clear plastic sheeting over it. Vandals have spray-painted over the plastic two or three times already.
The work of the mysterious activist and graffiti artist was first revealed in October last year and confirmed to be authentic when Banksy posted a picture to the official Instagram page.
The artwork was removed from the side of a building after it was bought by a gallery owner John Brandler for a “six-figure sum”. He claimed that he had saved the artwork “in time” before damp – resulting from the plastic cover put over the painting by Nottingham City Council – could cause damage. “If you put Perspex over a picture the moisture gets into the brick wall and can’t escape,” he explained. “The wall needs to breathe.
It was reported that the owner, who wished to remain anonymous, had attempted to “donate” the artwork, however, “substantial discussions” which had taken place with several organisations had not been successful. The owner said: “Since we were unable to donate the artwork itself, we’ll be donating the proceeds privately instead.”
The city rejuvenation board Nottingham Project claims they had been in contact with Banksy’s team (Pest Control) following the mural’s appearance and said that they believed its removal from Rothesay Avenue is against the artist’s wishes. That they had requested Banksy’s approval to move the piece to another location in the city, however, were asked to leave the artwork in its original place.
In March, a missing person poster with a photo of the artwork was added in its former home. The poster included a telephone number to call, which relates to the Brandler Galleries in Essex that purchased the artwork.
John Brandler said that the artwork would be displayed in the summer of 2021 at the Moyse’s Hall Museum in Bury St Edmunds, Suffolk.
Information Sources:
www.nottinghampost.com/news/local-news/live-updates-banks...
www.nottinghampost.com/news/local-news/missing-poster-ban...
www.nottinghampost.com/news/nottingham-news/loss-nottingh...
www.theguardian.com/artanddesign/2020/oct/17/banksy-confi...
www.independent.co.uk/arts-entertainment/art/news/banksy-...
Here is an example of a blind person "seeing" through touch of a skeleton at Sunderland Museum.
“To them, their fingers are eyes”
From 1913, John Alfred Charlton Deas, a former curator at Sunderland Museum, organised several handling sessions for the blind, first offering an invitation to the children from the Sunderland Council Blind School, to handle a few of the collections at Sunderland Museum, which was ‘eagerly accepted’.
Ref: TWCMS:K13810(2)
view the set www.flickr.com/photos/twm_news/sets/72157626903151525/
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure - for image licensing enquiries please follow this link www.twmuseums.org.uk/image-licensing/
View of progress with the Tyne Bridge, 2 February 1928, showing the two halves getting closer together (TWAM ref. 3730/15/5).
The Tyne Bridge is one of the North East’s most iconic landmarks. These photographs were taken by James Bacon & Sons of Newcastle and document its construction from March 1927 to October 1928. They belonged to James Geddie, who was Chief Assistant Engineer on the construction of the Bridge with Dorman, Long & Co. Ltd. of Middlesbrough.
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.
Tracey Emin / Edvard Munch
The Loneliness of the Soul
www.royalacademy.org.uk/exhibition/tracey-emin-edvard-munch
Tracey Emin on her cancer: 'I will find love. I will have exhibitions. I will enjoy my life. I will'
www.theguardian.com/artanddesign/2020/nov/09/tracey-emin-...
Tracey Emin/Edvard Munch: The Loneliness of the Soul review – moments of horror
www.theguardian.com/artanddesign/2020/dec/03/tracey-emin-...
Too many temples to money-fiddling in 'the Smoke' - ever more absurd and even hostile in this case: www.google.co.uk/amp/s/amp.theguardian.com/artanddesign/a...
Entangled Pasts, 1768–now Art, Colonialism and Change
www.royalacademy.org.uk/exhibition/entangled-pasts
The Last Supper recast: artist Tavares Strachan on reimagining Da Vinci’s dinner guests
www.theguardian.com/artanddesign/2023/dec/26/tavares-stra...
Date: December 2021
Medium: Digital Photomontage
Locations: Los Angeles and Santa Cruz, CA
Dimensions: 15" x 10"
© 2021 Tony DeVarco
Credit: Julia Margaret Cameron (British, born India, 1815 - 1879)
"Mrs. Herbert Fisher" (detail), 1868, Albumen silver print
33.7 × 25.2 cm (13 1/4 × 9 15/16 in.), 84.XM.1414.2
The J. Paul Getty Museum, Los Angeles. Downloaded from the Getty Open Content portal: www.getty.edu/art/collection/objects/58953/julia-margaret...
"Julia Margaret Cameron: soft-focus photographer with an iron will" by Charlotte Higgins for The Guardian: www.theguardian.com/artanddesign/2015/sep/22/julia-margar...
Visionary architect of the Sydney Opera House dies without ever stepping foot inside his masterpiece..
"If you like an architect's work, you give him something to build, not a medal."
Sydney, Australia
Albany Playsheme 1980.
FP4 at 320. Dev dilute Microphen (1/6).
Guardian Cover Competition winner 2012.
www.guardian.co.uk/artanddesign/gallery/2012/nov/07/photo...
Full story, including tribute to jenny Harris.
biginabox.wordpress.com/2012/11/07/guardian-cover-competi...
This image is part of the f20-12 exhibition at the Strand Gallery in London, as shown here. It was reviewed "by the Guardian's Camera Club: "Study' is an oddly disturbing portrait, the colours and the map like veins combining to make an almost unidentifiable image"
part of a series for the Guardian Camera Club March challenge: found objects in the landscape
Reviewed @
www.guardian.co.uk/artanddesign/gallery/2012/apr/05/photo...
Rising prominently along Van Ness Avenue in San Francisco, this commanding corner building serves as one of the primary hubs for Academy of Art University, the city’s largest private institution dedicated to visual arts, design, and media. With its uniform grid of black-trimmed industrial windows and pale concrete cladding, the structure brings a minimalist, modernist sensibility to one of San Francisco’s busiest arterial roads.
While many Academy of Art University buildings are spread across the city—from Jackson Square to the Tenderloin—this one, on Van Ness, stands out for its sheer size and visibility. It acts as both an academic anchor and a high-traffic visual landmark. Housing classrooms, studios, and administrative offices, it welcomes thousands of students every year who come to San Francisco to study fashion, animation, architecture, photography, and more.
The façade is unadorned but striking. Rows of large, divided-pane windows stretch across each floor, letting natural light pour into student workspaces while giving the building a warehouse-style visual rhythm. At street level, the university’s signature red-and-white signage wraps around the structure, advertising open enrollment, events, and academic offerings. Above, three flags flutter: the American flag, the California state flag, and the Academy of Art University emblem.
This photograph captures the building in morning light, revealing its boxy clarity and sharp edges against a vibrant blue sky. Crosswalks in the foreground and passing traffic emphasize the building’s urban energy, while the contrast between historic architecture in the distance and the clean lines of this modern school underscores the diversity of Van Ness’s evolving streetscape.
Van Ness Avenue has long been a corridor of transformation. Once part of San Francisco’s historic Auto Row, it has become a mixed-use spine of civic buildings, showrooms, residences, and education centers. The Academy of Art’s presence here blends educational ambition with urban functionality—proof that creativity can thrive in every corner of the city.
Whether viewed as an architectural subject, an educational landmark, or a symbol of creative energy in motion, this Van Ness building captures the forward-facing spirit of San Francisco’s student artists and designers.
A lover of jazz, a promoter of European creativity above
America's tendency to replace us as the globalisers, he was
a serious man who was always humorous, a cool dresser and dancer, a lover of jazz and cinema.
Among his works that have already stood the test of time are Terezin, The Atomic Yard and Lovers Rock.
He is survived by his two charming and talented daughters and hugely supportive partner Celia. www.johngoto.org.uk
www.theguardian.com/artanddesign/2023/aug/18/john-goto-ob...
(I am now the only survivor from my close art school peer group. Who's going to write my obituary? Actually a completely invented one would be fine, including being stalked as a teenager by Brigitte Bardot and having my entire style stolen by Bob Geldof.)
“Hey! It don’t mean a thing if it ain’t got that swing. Do wah, do wah, do wah, do wah, do wah…”
(Swing Kits, 1993)
New releases for Art in Hats and We <3 RP inspired in those years between the World Wars of the 20th Century, when the free thinkers, artists, poets… all them were dancing to the swing…
The Art in Hats will have a black special version of 4 hats, a Hot Jazz one, called “The Black Widow”, made to help to collect funds in support of the American Diabetes Association.
Read more and taxis:
evestudio3d.wordpress.com/2015/11/04/swing-alma-hats-rele...
Hello. I started to do the fan art again and my first impulse was to do the dramatic scene which is the body. My main impression within the composition was to do a stillness to capture the true emotions of life moving on and Buffys life suddenly stops. The tranquillity within the blends makes this emotions have even more depth within the simplest of all blends.
it's that time of year, when people on horses, and a pack of dogs, go chasing things through misty morning fields!
www.guardian.co.uk/artanddesign/gallery/2010/jul/01/photo...
This stature, erected in March 2018 on the fourth Plinth in Trafalgar Square, is a recreation of a statue destroyed by ISIS in 2015. It originally stood in the ancient city of Ninerva near the site of modern day Mosul. The piece, by Michael Rakowitz, is designed as a tribute to 'something good in the human spirit'. The sculpture shows a mythical winged beast called a Lamassu and is made up of 10,500 empty Iraqi date syrup cans, symbolising one of the country's former thriving industries shattered by the war.
www.theguardian.com/artanddesign/2018/mar/26/michael-rako...
The inscription is written in Cuneiform, one of the earliest systems of writing, on the side of the Lamassu reads: “Sennacherib, king of the world, king of Assyria, had the inner and outer wall of Ninevah built anew and raised as high as mountains.”
For me this statue represents a frighteningly different world from the world my generation and my children's generation grew up in. As a child I went on family outings to London and Trafalgar Square where we had our photo's taken sitting on the lions under Nelson's Column and holding seed in our hands for the pigeons to feed from. I even have a photo of my dad, who would have been almost 100 now, together with his parents feeding the pigeons in Trafalgar Square.
Since version 2.0, it's a fatpack with more options to easy custom it, including a new hud with 46 Texture Materials.
If you loved it b4, now more ;)
E.V.E Dreamer Boy is currently at Fameshed X, keeping the same price of 150L$
He's an extraordinary human being and I was unhappy with his bland portrait . www.theguardian.com/artanddesign/2014/mar/20/simon-weston...
Shot a few hours ago at Folehavna, near Sandefjord, Norway.
The weather was nice, (for a change), so I had a great walk out to this place.
Thanks for stopping by.
All comments are appreciated.
Here is an interesting article for you guys/girls who have this hobby:
www.theguardian.com/artanddesign/2013/dec/13/death-of-pho...
Michael Joseph Homage, taken shortly after Penguin carved the Gardein Turkey Roast...
www.theguardian.com/artanddesign/2019/oct/17/the-rolling-...
The house is called Vex and is by Chance and de Silva you can read about it here
www.theguardian.com/artanddesign/2017/may/14/vex-review-n...
captured on P9 edited in Snapseed
mashable.com/2015/02/25/banksy-gaza-documentary/
www.theguardian.com/artanddesign/video/2015/feb/27/banksy...
Good to see a strong turnout at the American Embassy
in Auckland this afternoon 19th July against Israel's unrestricted use and unchallenged use of Gaza as a live fire playground for test new weapons technology
Staring out the window of my parents' car, this leggy shape hanging several feet up in the air between a tree and the ground made an impression as we passed by - "Wait! Can we go back?? That was either a huge spider or an air plant!"
Thankfully my stepfather is used to me by now, so he did me the favor of making a second pass, slowly. Yesss!!! It was what I had hoped - a huge Golden Silk Spider, only the second large female I've ever seen, 11 years after the first. She was impressively large, as she would have to be to be noticed from a moving vehicle.
I shot this from inside the car with a telephoto lens. She was located over a mass of low bushes and would have been hard to get up to anyway. Her web was huge as well, maybe 15 feet from ground to branch with this big lovely orb pattern.
If you zoom in, you'll see that the silk really is yellow. I then looked up this creation I remembered so I could show my mom. If you haven't seen it yet, you'll be fascinated as well: Golden Cape Made With Silk From A Million Spiders
Golden Silk Spider, Nephila clavipes
Ocala, FL
Model posing for a Turners publicity shot, August 1957 (TWAM ref. DT.TUR/4/AG863/2).
To read a blog about Turners advertising techniques see www.twmuseums.org.uk/engage/blog/turners-saved-my-marriage/.
Tyne and Wear Archives presents a set of images taken by the Newcastle-based firm Turners (Photography) Ltd. They were taken by the firm on is own account for possible use in their advertising campaigns. Turners frequently hired models to help promote their work and to encourage sales in their shops. Some of the shots are humorous or bizarre while others are quite suggestive.
The images are fascinating for what they tell us about the times that produced them – the fashions, the attitudes, the technology … Most of the images are quirky and almost seem to invite comments. If you’d like to suggest alternative captions we’d be delighted to hear them!
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email info@twarchives.org.uk.
Model poses for a Turners publicity shot, March 1955 (TWAM ref. DT.TUR/4/AG540/1).
To read a blog about Turners advertising techniques see www.twmuseums.org.uk/engage/blog/turners-saved-my-marriage/.
Tyne and Wear Archives presents a set of images taken by the Newcastle-based firm Turners (Photography) Ltd. They were taken by the firm on is own account for possible use in their advertising campaigns. Turners frequently hired models to help promote their work and to encourage sales in their shops. Some of the shots are humorous or bizarre while others are quite suggestive.
The images are fascinating for what they tell us about the times that produced them – the fashions, the attitudes, the technology … Most of the images are quirky and almost seem to invite comments. If you’d like to suggest alternative captions we’d be delighted to hear them!
(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email info@twarchives.org.uk.
Looking towards the Tyne Bridge, Newcastle upon Tyne, November 1963 (TWAM ref. DT.TUR/2/32626C).
Tyne & Wear Archives presents a series of images taken by the Newcastle-based photographers Turners Ltd.
The firm had an excellent reputation and was regularly commissioned by local businesses to take photographs of their products and their premises. Turners also sometimes took aerial and street views on their own account and many of those images have survived, giving us a fascinating glimpse of life in the North East of England in the second half of the Twentieth Century.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk