View allAll Photos Tagged ArtAndDesign
LARGE View On Black
Reviewed at the Guardian website:
www.guardian.co.uk/artanddesign/gallery/2011/mar/15/art-p...
This picture was taken in Antwerp, Belgium. We're looking for a town (Doel) lost in the middle of a industrial area. We coudn´t find it.
A nuclear central is very close.
Of course, remember that my first solo book will be released in May!
Recent articles
streetartlondon.co.uk/blog/street-artist-interview-isaac-...
crackforyoureyes.com/interviews/item/1111-isaac-cordal
www.mymodernmet.com/profiles/blogs/interview-man-behind-t...
www.brooklynstreetart.com/theblog/?p=19936
www.guardian.co.uk/artanddesign/2011/feb/27/mini-street-s...
arrestedmotion.com/2011/04/publications-cement-eclipses-b...
Cement eclipses, small interventions in the big city
Special Edition available from
www.carpetbombingculture.co.uk/index.php?action=what
Oblivious to the casual passer-by, a tribe of small cement
figures have been appearing in cities across Europe. Left to
fend for themselves amongst the chaos of everyday living, they
can be found in the most unlikeliest of places.
From paddling in gutters to sitting majestically on top of bus shelters,
these concrete sculptures are like little magical gifts to the public
that only a few lucky people will have both seen and loved, but so
many more will have missed.
Isaac Cordal
Hardback 256 pages
20cms x 14cms
ISBN - 978-0-9559121-8-4
Amazon:
www.amazon.co.uk/Cement-Eclipses-Isaac-Cordal/dp/0955912180
Isaac Cordal ...is a sculpture artist from London. His sculptures take the form of little people sculpted from concrete in 'real' situations. Cordal manages to capture a lot of emotion in his vignettes, in spite of their lack of detail or colour. He is sympathetic toward his little people and we empathise with their situations, their leisure time, their waiting for buses and their more tragic moments such as accidental death, suicide or family funerals. His sculptures can be found in gutters, on top of buildings, on top of bus shelters - in many unusual and unlikely places in the capital. This book is the first time his images have been shown in together in one book dedicated to his work. Many images never seen before Cordal's concrete sculptures are like little magical gifts to the public that only a few lucky people will see and love but so many more will have missed. Left to their own devices throughout London Cordal what really makes these pieces magical is their placement. They bring new meaning to little corners of the urban environment. They express something vulnerable but deeply engaging. Left to fend for themselves, you almost want to protect them in some way, or perhaps communicate with them. Of course the 25cm high sculptures of people in everyday poses the artist creates in are not real, are they? Well you've opened a whole can of worms with that question. Yes, the little scenes in Concrete Eclipse are somewhat poignant but they do not invite you to weep passively for lost worlds you never knew. They are there to provide a one handed clap to shake you from your reveries and plug you back in to the world. So Cordall's men in grey are a little message of hope in spite of their forlorn appearance and they are there to remind you that pessimism is not common sense, it's just pessimism. So make sure you do something inessential today. Go on, the grey men don't want you to.
"Cardiff After Dark" book was today the editors' pick at the Guardian: www.guardian.co.uk/artanddesign
The review: www.guardian.co.uk/artanddesign/2012/sep/30/cardiff-after...
"Cardiff After Dark" book: on Amazon UK, on amazon .com, worldwide on bookdepository.
Rosalind and children, Yorkshire (for British Vogue) 1961
Born in 1928 in Abbazia, Italy, Frank Horvat is considered one of the founding fathers of French fashion photography.
Via:
www.theguardian.com/artanddesign/gallery/2018/may/30/fran...
Designed by the Danish firm Henning Larsen Architects in co-operation with Danish-Icelandic artist Olafur Eliasson.
Read the article by Rowan Moore in The Observer:
www.theguardian.com/artanddesign/2011/aug/28/harpa-concer...
by Richard Buckminster Fuller and Jean Prouvé
www.design-museum.de/en/information/vitra-campus.html
more domes: Copenhagen/ | Montreal
www.theguardian.com/artanddesign/2023/jul/03/there-was-ne...
A gleaming testament to modern minimalism, this captivating gold sculpture stands tall on a wooden pedestal at the Hirshhorn Museum in Washington, D.C. The piece, with its reflective surface and geometric forms, embodies both elegance and simplicity, creating a powerful dialogue between materials and shapes. At first glance, it might appear as a simple cylindrical form split into angular segments, but a closer inspection reveals a precise and balanced composition that plays with reflections and light, drawing the eye to every angle.
Set atop a sturdy wooden pedestal crafted from rich, warm-toned wood, the sculpture gains an organic contrast. The pedestal itself is a work of art—a geometric base rising to a square platform, topped by a perfectly cut cross-section of the tree trunk, complete with visible growth rings and natural cracks. This juxtaposition between the organic texture of the wood and the polished, reflective gold surface above highlights the artist’s exploration of nature, craft, and industrial materials.
The clean lines and minimalist design echo the broader aesthetic of the Hirshhorn’s modern art collection, where form and material often take center stage. The museum’s subtle white walls and ambient lighting cast gentle shadows that enhance the sculpture’s dimensionality. Even in its simplicity, this piece feels dynamic—its polished surface captures hints of the surrounding space, blurring the line between the artwork and the viewer’s reflection.
For visitors, this sculpture offers a moment of contemplation: a study in contrasts, materials, and craftsmanship. It invites the viewer to consider the relationship between nature and human-made forms, and how the two can coexist beautifully in the language of modern art.
This is a glass slide telling the comic tale of a young boy playing tricks.
The slide is from some time between the late 19th century and early 20th century. It would have been viewed using a magic lantern, an early type of image projector.
This image is part of the Tyne & Wear Archives & Museums set Playing Tricks.
(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 adam.bell@twmuseums.org.uk
This image comes from a collection of glass slides of fairground scenes found in the stores at Discovery Museum, Newcastle upon Tyne. www.flickr.com/photos/twm_news/sets/72157627692102509/
We have no information about the photographer or where the photographs were taken. We welcome any new information you are able to share.
(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
The North by John Bulmer opens tonight at Third Floor Gallery in Cardiff!
www.facebook.com/event.php?eid=218673944815794
www.guardian.co.uk/artanddesign/gallery/2010/jan/29/john-...
Deansgate Square is a skyscraper cluster on the southern edge of Manchester City Centre, consisting of four skyscrapers, the tallest of which is 201 metres. The site is just south of Deansgate railway station and north of the Mancunian Way, bounded by Old Deansgate, Pond Street, Owen Street and the River Medlock. Manchester City Council adopted a framework in the early 2000s, known as the Great Jackson Street Development Framework, which earmarked the site as an acceptable location for high-rise buildings. en.wikipedia.org/wiki/Deansgate_Square
Picture of Deansgate Square & Elizabeth Tower by ChrisClarke88 on Wikimedia Commons w.wiki/4Ki3
Title by Leonard Cohen en.wikipedia.org/wiki/First_We_Take_Manhattan and Oliver Wainwright in Welcome to Manc-hattan: how the city sold its soul for luxury skyscrapers: www.theguardian.com/artanddesign/2019/oct/21/welcome-to-m...
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
"It sounds like a cliche but I also learnt that you're not going to fall for the right person until you really love yourself and feel good about how you are." -Emma Watson #harrypotter @emmawatson #potterhead #wingardiumleviosa #drawing #thiswashard #butitwasfun
Source: instagram.com/joshiwoshi18
Tag #vcad or #vcadca in your Instagram posts and we will repost the best ones on the official Visual College of Art & Design blog and social media websites.
Subscribe to VCAD:
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Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
I really love this picture. I wish I had taken it.
In Lucian Freud's studio by Jochen Braun
from www.guardian.co.uk/artanddesign/gallery/2010/jun/22/art-l...
www.guardian.co.uk/artanddesign/gallery/2011/dec/15/photo...
Southend's golden mile has been extensively remodelled over the last two years, these fountains are extemely popular with kids. They change colour all the time, I've got shots of green, pink, mauve, yellow . . .
Long Island City, NY
Sadly 5 Pointz is no more. It was completely white washed over one night by order of the owners and the building is soon to be demolished.
www.theguardian.com/artanddesign/2013/nov/19/5-pointz-gra...
Thanks to all that pass by.
Justin
I don't think I've ever put this much effort into anything as I did in this #homework . Phew . @nickiminaj #nickiminaj #barb #drawing #vcad #portrait #anotherboringhashtag #peepee
Source: instagram.com/sashaforfuckssakes
Tag #vcad or #vcadca in your Instagram posts and we will repost the best ones on the official Visual College of Art & Design blog and social media websites.
Subscribe to VCAD:
www.youtube.com/subscription_center?add_user=VancouverVCAD
Visual College of Art & Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9
A b&w Hipstamatic photo of a Banksy piece in Camden... I'm just sorry I couldn't get a fixie in there somewhere.
(This has since been covered by boards. Not sure what's happening.)
www.guardian.co.uk/artanddesign/2011/jun/07/tox-graffiti-...
Designs from a new collection of textiles I'm producing for my Glitch Textiles project. Pre-Order Now on Kickstarter: www.kickstarter.com/projects/phillipstearns/the-honeypot-...
Designs from a new collection of textiles I'm producing for my Glitch Textiles project. Pre-Order Now on Kickstarter: www.kickstarter.com/projects/phillipstearns/the-honeypot-...
This is a Fashion Illustration drawn at some time in the 1950's displaying Gentleman's Fashion in Newcastle upon Tyne.
The image is part of a collection capturing the changing face of Fashion in Newcastle upon Tyne, from the 1940’s to the 1970’s. This is expressed through photographs of shop fronts, advertising photography and product photography. More photographs can be viewed here www.flickr.com/photos/twm_news/sets/72157633468735885/
Image reference: DT/TUR/2/12012/C
This collection of photographs can be found in the Turners Collection at Tyne & Wear Archives. Turners Photography Ltd was a commercial photographic company based at 7-15 Pink Lane, Newcastle. The collection is an extensive one, covering all aspects of commercial photography, including many jobs for large advertising firms of the time such as Tully-Crabbe Ltd.
These images have been compiled in contribution to Newcastle Fashion week 2013.
(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
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.
Olympus C-8080 (bridge-camera), f3.2, 2 sec, ISO 50. (manual exposure 2/3 under ambient,shutter actuated with IR remote).
Light-Source: The Phone itself :)
Manfrotto 'Magic-Arm' for camera (clamped to table with a Manfrotto Multiclamp).
www.guardian.co.uk/artanddesign/gallery/2010/jan/27/photo...
This image comes from the Gladstone Adams collection. Grey’s monument and Eldon Square can be picked out lower centre left. St James Park and Leazes Park stand out clearly centre right.
Reference: TWAS: DT.GA.4.1-4
(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.
To purchase a hi-res copy please email archives@twmuseums.org.uk quoting the title and reference number.
This image captures the iconic Casa Milà, popularly known as La Pedrera, at night. Designed by the renowned architect Antoni Gaudí, the building’s unique undulating façade is illuminated by soft lights, highlighting its organic shapes and intricate ironwork. The bustling street below contrasts with the serene architectural masterpiece, making it a vivid depiction of Barcelona's dynamic nightlife and cultural heritage.
Shot I took on our Pre-Thanksgiving Day Hike w/ early afternoon sun lighting the desert scrub. I am interested in doing some high contrast BW's like this guy:
www.theguardian.com/artanddesign/gallery/2014/nov/27/bold...
So I was checking out the Topaz BW plug in and noticed they were having a Black Friday special and long story I got a killer deal on every plug in they've got and ended up with this not so BW / nothing like that guy photo...
Topaz Dealio thru 12/1:
www.darckr.com/username?username=casually,+krystina
posts supporting the Zaha Hadid building on the Donaukanal, Spittelau, Vienna.
www.guardian.co.uk/artanddesign/2006/oct/09/architecture....
Photograph, black and white, of man standing, woman seated, girl standing, 2 boys
on reverse: Hudson Family Gateshead
Maker: photographer - Frank and Sons
Place Made: West Street, 81, Gateshead, Tyne and Wear, England, UK
Regional Faces of the First World War.
The photograph is from an album relating to the men, women and children from Tyne and Wear who lived, worked or fought during the First World War.
Accompanying this photo is the biographical and supporting information that we have about them, but the full story is not always known. Our collections records are not very detailed in some cases. We need your help to fill in the blanks. Do you have any information to add to what is already here? A name? A location? What more can you find out and tell us about their life?
If you have some extra information about this photograph, please add your comments, information and any links, images or text.
Part of the ‘Wor Life’ project. To find out more please visit www.worlife.org.uk
Weston Park Museum
Who We Are
The first major retrospective of Martin Jenkinson’s work
During the 1980s, Jenkinson became known for his memorable images of British protests which were widely published and became a familiar presence on the front pages of the national press.
mjimages.pressphotos.co.uk/about/index
Miners' Strike
Striking Miner wearing a toy police helmet talking to police at Orgreave.
6th June 1984
Read the Guardian review here:
www.theguardian.com/artanddesign/2018/nov/27/who-we-are-p...
View of Newgate Street, Newcastle upon Tyne, May 1961 (TWAM ref. DT.TUR/2/26647E). This street has seen significant changes since this photograph was taken with the development of Eldon Square Shopping Centre and The Gate.
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
From the Guardian Newspaper 12 June 2016:
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree.
It is designed by BIG, or Bjarke Ingels Group, a name that cleverly combines the initials of its 41-year-old founder and leader with the alternative custom of choosing names that carry some sort of meaning (OMA, the late lamented FAT, muf, Assemble). The latter is supposed to deflect attention away from individuals towards something more general: “BIG” is universal and personal at once, none too subtle in its meaning and statement of ambition and has the added attraction that the original Danish practice can call its website big.dk.
The name encapsulates Ingels’s genius, which is to combine the avant-garde trappings of an OMA with a happy-to-be-trashy flagrancy, an embrace of the values of marketing, a celebration of ego. “What I like about architecture,” he says, “is that it is literally the science of turning your fantasy into reality.” His approach has earned BIG the mistrust, awe and envy of fellow professionals, the adulation of many students and a 300-strong practice with offices in Copenhagen, New York and, as revealed in an announcement coinciding with the Serpentine launch, London.
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree."
Original article at: www.theguardian.com/artanddesign/2016/jun/12/serpentine-p...
This is a glass slide telling the comic tale of a young boy playing tricks.
The slide is from some time between the late 19th century and early 20th century. It would have been viewed using a magic lantern, an early type of image projector.
This image is part of the Tyne & Wear Archives & Museums set Playing Tricks.
(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 adam.bell@twmuseums.org.uk
Architects; Niall McLughlin Architects, 2013.
This 'cyclopian window' plays a key role both inside and outside the building.
An excellent appraisal by Rowan Moore from Guardian here.
The sculptor of the The Virgin with the Laughing Child remains a mystery but some believe it to be Leonardo da Vinci. The figure combines Leonardo's style with those of sculptors Antonio Rossellino and Desiderio da Settignano. If the attribution is correct (to me her face recalls that of the Mona Lisa) it is one of the very few surviving sculptures made by Leonardo da Vinci.
Physicist Norris Bradbury sits next to The Gadget, the nuclear device created by scientists to test the world's atomic bomb, at the Trinity Site in Alamogordo, New Mexico.
Illustration: Corbis
www.theguardian.com/artanddesign/picture/2014/may/31/pict...
One of a series of posters around town featuring images by Johny Pitts - a self-taught photographer, writer and broadcaster from Sheffield.
Pitts describes himself as a Northern Soul child, the product of an African American musician father and a white working class mother, who worked as a teacher, who first met at a Sheffield working men’s club. Pitts recently had a photo-book published and an exhibition at Sheffield’s Graves Art Gallery: Home Is Not a Place.
Illustrated article: www.theguardian.com/artanddesign/2022/sep/11/odyssey-of-t...
Battleground: War Rugs from Afghanistan is showing at the Mendel Art Gallery in Saskatoon. The exhibition was organized by the Textile Museum of Canada. These rugs are hand-loomed in households across rural northern Afghanistan. Traditionally, rugs were decorated with flowers and animals. Since the Soviet invasion in 1979 and the decades of war that followed, carpets have been embellished with objects of war: hand grenades, machine guns, helicopters, airplanes, missiles and mines. If you look closely, you will see these objects of war woven into the rugs. January/February 2015.
Photographs of the exhibit were permitted.
The Guardian ran an article about the Afghan War Rugs which you can read by clicking on this link: www.theguardian.com/artanddesign/shortcuts/gallery/2015/f...
Don't use this image on websites, blogs, or other media without explicit permission © Colleen Watson-Turner. All rights reserved.
"There's a lot of red energy in me when I enter stage ..."
Kjetil-Vidar Haraldstad aka Frost is overwhelming and exceptional Drummer of Satyricon and 1349 bands and many other projects in past ... Drummer from a capital D! 🔥🔥🔥
www.youtube.com/watch?v=gxqC-uKp9Og
www.youtube.com/watch?v=Mw2ZGAV_QyI
Mixed media portrait (watercolors painting / color pencils drawing), 05/2025