View allAll Photos Tagged hyperrealistic
The talented and beautiful Belgian actress born 1987 in an attempt of hyperrealistic painting on fine-grained canvas effect
Christiaan Tonnis / Anselm Kiefer's Airplane after Elaine Sturtevant's "Kiefer Voyage Au Bout De La Nuit", 1992
It looks like Elaine Sturtevant build Anselm Kiefer's lead airplane as an exact copy - but she pointed out, that it isn't neither a copy nor a reconstruction, but better explained with a recreation or new creation.
I used sugar to recreate Elaine Sturtevant's Anselm Kiefer's lead airplane, as I keep it in my memory from an exhibition at the MMK Museum für Moderne Kunst, Frankfurt, at the 25th of September 2004. I was so impressed and had to think about it from time to time, that I now took one step further and created Sturtevant's airplane (made by Kiefer as one of seven) with lumps of sugar.
Baudrillard's Hyperrealism
"Baudrillard argues that the space that reality once occupied has now been flooded with "meticulous reduplication" 1 to the point that the line between the real and the representation has become blurred or all but lost. He calls this hyperrealism and notes that it is an evolution from surrealism. In surrealism, realism is "redoubled" with elements of the subconscious imaginary. Surrealism sought to expose the blocked reality of dreams. It mixed realism with fantasy and the unreal. Now that unreality is no longer found in the imagery manifest in dreams, but in the representation of the real because the representation has a sort of déjà vu dream-like nature. Baudrillard also says that surrealism is limited to expressing itself in "privileged moments," such as art and the imaginary, whereas hyperrealism is evident in many facets of culture—"political, social, historical, and economic reality." Thus, hyperrealism is a more developed form than surrealism that has spread from its original container of art to all parts of reality. Particularly, it challenges traditional notions about identity because subjectivity is grounded in images, and our relationships to them in delineating what is real and what is not. Though the hyperreal has an affect on culture as a whole, the impact of hyperrealism, and the culture of simulation that it perpetuates, is readily identified in art because of modern technology's ability to mass reproduce. This is paired with a society based on the foundation of mass media consumption."
Daniel Yang
~ Identity in a Hyperrealistic Society
Born and raised in Bali where the consumption of alcohol is common, Dodit Artawan is not at all foreign to the beverage. Dodit Artawan is concerned about the problems that alcoholism brings, and has chose to depict them through his works. Starting from local alcohols- rice wine, palm wine, and arak (liquor made from rice, palm, or coconut trees), he has continued exploring the topic of alcoholism, eventually venturing into the more famous brands of liquor. Dodit Artawan is interested in the effects of reflection and transparency on his subjects, and hence depicts them in a hyperrealistic manner. His works are not far from his lifestyle, and he is just appropriating the lifestyle of the contemporary society, with no exception to Indonesians', including his own.
To see more of our artworks, visit us at odetoart.com/
lanscape city of creation. ancient Greece spaceship. hyperrealistic . art concept. cyberpunk. Da vinci Style. 8K. V-ray. Cinematic ilumination. unreal enigme. --ar 16:9 --v 6.0 --s 750 @sebaRMZ
Acier, fibre de verre et tissu.
Né en 1961 à Jérusalem, Khalil Rabah interroge dans sa pratique les constructions mentales de l'histoire dans la société actuelle. Cette sculpture hyperréaliste donne corps à une œuvre-symbole de la culture palestinienne, "Jamal al Mahamel" ("Le Porteur de montagnes"), peinte en 1973 par Suleiman Mansour et devenue l'une des images les plus reproduites et emblématiques des souffrances du peuple palestinien. Alors que Mansour fait apparaître un vieil homme seul au milieu d'un paysage nu et dépeuplé portant sur ses épaules la ville de Jérusalem, le porteur de Khalil Rabah, lui, ne porte plus rien. "Tout va bien", commente ironiquement l'artiste.
Steel, fiberglass and fabric.
Born in 1961 in Jerusalem, Khalil Rabah questions in his practice the mental constructions of history in present-day society. This hyperrealistic sculpture gives shape to a work-symbol of Palestinian culture, "Jamal al Mahamel" ("The Bearer of Mountains"), painted in 1973 by Suleiman Mansour and has become one of the most reproduced and emblematic images of the suffering of the Palestinian people. While Mansour makes an old man appear alone in the middle of a bare and depopulated landscape carrying the city of Jerusalem on his shoulders, the bearer of Khalil Rabah, him, carries nothing. "Everything is fine," the artist comments ironically.
Centre Pompidou, Musée national d'art moderne, Paris
I resculpted the nose and mouth of this Alita head sculpt to likeness of supermodel Karen Elson. The skin tone in Milk with hyperrealistic blushing and an experimental resin coating for skin like texture and to protect the blushing.
I made two red wigs that are iconically Karen for her: a frizzy and wild afro style with central parting (wool mohair mix) and classic femme fatale curls from smooth alpaca.
The miniatures are a mix of things, mostly re-ment.
Akeley Hall of African Mammals
African Elephants
The African elephant is the largest living land mammal. Both male and female African elephants have ivory tusks.
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Prompt:
a portrait of a family of three, elderly parents and adult child, wearing formal attire, serious expressions, exaggerated features, woman with large bouffant hairstyle | somber, unsettling mood::1.2 | surrealism::1.3, hyperrealistic, reminiscent of American Gothic | cinematic lighting, detailed textures, 8k resolution, intricate details | --ar 2:3 --v 6.0 --q 2 --s 75 --c 30
White Rhinoceros
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Prompt:
A Woman with black cat face paint, sharp fangs, and glowing blue eyes, windswept black hair, dark teal background with falling walter | mysterious, alluring::1.2 | dark fantasy art, digital painting::1.3 | cinematic lighting, ultra-detailed, 8k resolution, hyperrealistic | --ar 2:3 --v 6.0 --q 2 --s 75 --c 30
Done in Ai, Finalized in Photoshop
Inspired by and Reimagined
"When embers become eternity, his gaze ignites the void."
A hyperrealistic portrait of the Dragonlord — a being forged from scales darker than obsidian and veins pulsing with molten fire. His armor, etched with glowing runes and sealed with ancient sigils, radiates power beyond mortal comprehension. Each fiery symbol carved into his chestplate burns like a brand of dominion, marking him as the eternal conqueror of ruins and realms alike.
With horns like jagged spires and eyes blazing like volcanic cores, he is not merely a warrior — he is apocalypse incarnate, cloaked in gold and shadow. The sparks that trail from his presence are not mere embers, but fragments of worlds undone.
Greater Koodoo
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
The Heydar Aliyev Center (Azerbaijani: Heydər Əliyev Mərkəzi) is a 57,500 m2 (619,000 sq ft) building complex in Baku, Azerbaijan, designed by Iraqi-British architect Zaha Hadid and noted for its distinctive architecture and flowing, curved style that eschews sharp angles. The main contractor, Dia Holdings, is owned by actors that are linked to Azerbaijan's ruling Aliyev family's network of offshore companies.
The center is named after Heydar Aliyev (1923–2003), the first secretary of Soviet Azerbaijan from 1969 to 1982, and president of Azerbaijan Republic from October 1993 to October 2003.
Design
In 2007, Zaha Hadid was appointed as the design architect of the Center after a competition. The Center houses a conference hall (auditorium), a gallery hall and a museum. The project is intended to play an integral role in the intellectual life of the city. Located close to the city center, the site plays a pivotal role in the redevelopment of Baku.
The Heydar Aliyev Center represents a fluid form which emerges by the folding of the landscape's natural topography and by the wrapping of individual functions of the Center. All functions of the Center, together with entrances, are represented by folds in a single continuous surface. This fluid form gives an opportunity to connect the various cultural spaces whilst at the same time, providing each element of the Center with its own identity and privacy. As it folds inside, the skin erodes away to become an element of the interior landscape of the Center.
The Heydar Aliyev Center had an official soft-opening ceremony on 10 May 2012 held by the president of Azerbaijan Ilham Aliyev.
Extending on eight floor levels, the center accommodates a 1,000-seat auditorium, temporary exhibition spaces, a conference center, workshops, and a museum.
The building was nominated for awards in 2013 at both the World Architecture Festival and the biennial Inside Festival. In 2014, the Center won the Design Museum's Design of the Year Award 2014 despite concerns about the site's human rights record. This makes Hadid the first woman to win the top prize in that competition.
In popular culture
The building was featured in Extreme Engineering, a documentary television series that airs on the Discovery Channel and the Science Channel. The episode called "Azerbaijan's Amazing Transformation" was aired on 22 April 2011 as part of season 9. The building was seen on The Grand Tour episode entitled "Sea to unsalty sea," with presenter Jeremy Clarkson praising the building and Hadid. The building was also featured on the "postcard" of Samra Rahimli for the postcard of Azerbaijan at the Eurovision Song Contest 2016 and in a Google Doodle in 2017.
Interior
On 29 June 2012, the Heydar Aliyev Center held the official opening of Crans Montana Forum, attended by the President of Azerbaijan Ilham Aliyev, President of Georgia Mikheil Saakashvili, President of Macedonia Gjorge Ivanov, President of Montenegro Filip Vujanović, as well as foreign public figures, MPs, intellectuals, and business circles.
On 3 July 2012, the Center held the ceremony of the official seeing-off of the Azerbaijani delegation to take part in the 2012 Summer Olympic Games in London. The ceremony was attended by the President Republic of Azerbaijan, President of the National Olympic Committee Ilham Aliyev and his spouse Mehriban Aliyeva. Photo banners reflecting the Olympic movement in Azerbaijan were installed in the lobby of the Heydar Aliyev Center. President of Azerbaijan Ilham Aliyev made a speech at the ceremony.
After repairs following a major fire (see below), on 2 and 3 November 2013, the Moscow music theater Helikon Opera under the direction of the People's Artist of Russia Dmitry Bertman, presented performances at the Heydar Aliyev Center. On 2 November, the Helikon-Opera presented a gala concert "The Enduring Love", a program that included lyric songs by Marilyn Monroe, Tina Turner, Elton John, Celine Dion, Whitney Houston, and the Beatles. On 3 November, the artists performed the opera Siberia by the Italian composer Umberto Giordano staged by Dmitry Bertmann.
Exhibitions
"Life, Death, and Beauty"
On 21 June 2013, the Center held the exhibition of works by American artist Andy Warhol titled "Life, Death, and Beauty" supervised by Gianni Mercurio, dated for the 85th anniversary of the artist. The exhibition for the first time in Azerbaijan displayed over one hundred works by the artist, including featurettes by Warhol. There were shown photos of the author, portraits of the world film, music, and fashion stars, as well as other world-renowned works, including Flowers, Camouflage, The Last Supper, Male Hands Praying, and Electric Chair. On 6 August, the artist's birthday, Baku residents and visitors could freely visit the exhibition, which ran until 9 September.
"At the turn of the century"
On 1 October 2013, the Heydar Aliyev Center held a personal exhibition of the People's Artist of Azerbaijan, vice-president of the Russian Academy of Arts Tahir Salahov, titled "At the turn of the century". The exhibition was dated for the 85th anniversary of the artist. His great contribution to the development of Azerbaijani fine art was highlighted at the exhibition opening. The artistic heritage of Salahov is an integral part of the art of not only Azerbaijan, but also the entire former Soviet Union. He is recognized as one of the founders of the "severe style" in painting. The exhibition featured over 100 works by the artist, created at different times, and his works on the carpets. Among the exhibits were the portraits of Heydar Aliyev, the composer Gara Garayev and Dmitri Shostakovich, the musician Mstislav Rostropovich, the works Aidan, Morning. Absheron, Koroglu, Absheron triptych – Ateshgah, The Caspian today, Maiden Tower, and other well-known works of the people's artist. The exhibition ran until 8 November 2013.
In 2017, the center also opened its doors to the Contemporary Turkish Art Exhibition, a collection of art pieces by various Turkish artists.
"Masterpieces of History" exhibition
On 27 May 2019, the Heydar Aliyev Center hosted the "Masterpieces of History" exhibition, which included ancient artifacts from Georgia and Azerbaijan.
The majority of artifacts belong to Gajar epoch and include ceramic and metal works, canvases, miniatures and belongings of Fatali Khan, including his portrait.
The exhibition also featured photographic collection by Dmitri Yermakov, a participant of the Russian-Ottoman War of 1877-1878.
"Hyperrealistic Sculpture. Almost Alive" exhibition
On 29 November 2018, the Almost Alive exhibition was held at the Heydar Aliyev Center. The exhibition consisted of deformed figures of extraordinary dimensions, monochrome statues, and pieces representing various body parts.
The exhibition featured works created by Daniel Firman, Duane Hanson, Tony Matelli, Mel Ramos, Mathilde ter Heijne, Robert Graham, Allen Jones, Zharko Basheski, George Segal and other artists.
"Possible Dimensions" exhibition
On 22 May 2019, Zurab Tsereteli opened an exhibition at the Heydar Aliyev Center. The exhibition was dedicated to Zurab Tsereteli's 85th anniversary. Thirty paintings and statues brought from Moscow, Tbilisi and London were displayed at the exhibition.
Vienna Strauss Festival Orchestra
On 26 November 2018, Strauss Festival Orchestra Vienna held a concert at the Heydar Aliyev Center. The orchestra had also appeared with concerts at the Heydar Aliyev Center back in 2014 and 2016.
"Inner Engineering: Technologies for Wellbeing" lecture by Sadguru
Jaggi Vasudev, also known as Sadguru, gave a lecture in the Heydar Aliyev Center on 10 November 2018. The subject constitutes a comprehensive system derived from centuries-old yoga studies aiming at profound and sustainable personal transformation.
Fire
On 20 July 2012, after a single performance, a fire started on the roof of the building at about 11:30am. It was quickly put out by firemen, and it was initially reported that the fire only damaged the roof of the building, leaving the interior only slightly damaged, mainly because of the water used by firemen to extinguish the fire. However, the damage was later reported to have had "grave consequences and material damage on a large scale." Officials concluded the fire resulted from negligence in the use of welding equipment in the roof; three Turkish contractors were subsequently charged under Azerbaijan's criminal code. After sixteen months of repairs, it was formally re-opened on 5 November 2013.
Mini Azerbaijan
The Mini Azerbaijan exhibition on the second floor features models of 24 historical and architectural buildings. Visitors can also learn about the history and architecture of buildings exhibited in both Azerbaijani and English.
Among exhibited buildings are those dated to the Middle Ages (Maiden Tower, Momine Khatun Mausoleum), 19th century (Baku Bazaar, Azerbaijan State Philharmonic Hall, Ismailiyya Palace), USSR era (Government House, Green Theatre), 21st century (Baku Crystal Hall, Flame Towers) as well as the buildings being constructed (Baku Olympic Stadium, State Oil Fund of the Republic of Azerbaijan).
International relations
The Heydar Aliyev Center maintains close ties with a number of international agencies, peer structures abroad, museums and exhibition centers. The Center has organized events and exhibitions as a result of joint cooperation with different organization, museums and exhibitions of Austria, Belgium, Great Britain, France, Italy, Russia, Slovenia, Turkey and so on. At the same time, it has conducted a number of projects in Great Britain, Israel, Italy, Hungary, Romania, Russia, Turkey, Japan and others. Center has become a member of various international organizations.
The International Association of Exhibitions and Events (IAEE) The Association's major goal is to provide support to the agencies involved in the organization of events and exhibitions through resources and information, and the development of the exhibition industry. The Center enjoys the IAEE membership as of 17 September 2013.
The International Congress and Convention Association (ICCA) The ICCA is the world s leading association in the field of organizing and accommodating international events with 90 member states at the moment. The Center became the ICCA member as of 10 October 2013.
The International Association of Convention Centers (AIPC) The Association the Center acceded as of 15 September 2014 unites professional managers of convention centers and exhibitions halls, with more than 50 member states currently represented.
The Association of Event Organizers (AEO) The association unites organizations involved in the management, operation and sales of events. Sharing best practices in security and sustainability matters, as well as technical and financial issues, constitutes the major objective of the AEO, with the Heydar Aliyev Center being a member to as of 15 December 2014.
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Klipspringer
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
I visited an exhibition at the Museum of New Zealand, Te Papa, dedicated to the ill-conceived First World War campaign at Gallipoli. The tragic story, permanently embedded into the local collective psyche, was retold by emotional displays of historic artefacts, multimedia presentations and several hyperrealistic battle scenes remade using two and a half sized human figures.
A message from the past, an expensive lesson in humanity we may or may not learn.
Opaki
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Inverted drawing of this skeletal and lava reduced version of Bowser. #drybowser 🌋🐢💀 .
YouTube Video: youtu.be/BFoYYqmM6Eg
Buffalo
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
I resculpted the nose and mouth of this Alita head sculpt to likeness of supermodel Karen Elson. The skin tone in Milk with hyperrealistic blushing and an experimental resin coating for skin like texture and to protect the blushing.
I made two red wigs that are iconically Karen for her: a frizzy and wild afro style with central parting (wool mohair mix) and classic femme fatale curls from smooth alpaca.
The miniatures are a mix of things, mostly re-ment.
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Salvador Dali - Guillaume Tell, detail son [1930]
Paris, Centre Pompidou
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The horrified son hides his face with his left hand. He raises his right hand accusingly against his cruel father. His sex is protectively covered by a leaf. The branch with the leaf leads directly to a bird's nest with several eggs. (A reference to fertility, to a family with offspring).
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Psychoanalytical kaleidoscope
The Catalan surrealist Salvador Dalí (* 11.5.1904, †23.1.1989) had already immersed himself in Sigmund Freud's writings during his studies and developed his own method of translating images of the unconscious into hyperrealistic painting. He interpreted the freedom hero William Tell as an authoritarian perpetrator figure who threatens his son. In this dream image, Dalí equates him with his father, whom he must defeat in his Oedipal fantasy in order to attain freedom. He depicts the father as a raging man with his sex exposed, pursuing the son with a pair of scissors. The latter turns away in his fear of castration. The relief of a woman, on whom the father is leaning his knee in a possessive posture, shows the married Gala Éluard, with whom Dalí lived together, much to his father's indignation: this is an attempt to expel her from paradise. At the top left, the father is playing on a grand piano on which lies a donkey carcass - a symbol from the film "An Andalusian Dog", which Dalí made with Louis Buñuel in 1929. The white stallion can be imagined as the unconscious force with which the escape from the father's power is achieved.
Impala
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Lesser Koodoo
Akeley Hall of African Mammals
Since its opening in 1936, the Akeley Hall has been considered by many to be one of the world's greatest museum displays. The hall is named after Carl Akeley (1864–1926), the explorer, conservationist, taxidermist, sculptor and photographer who conceived of, designed and created the hall. Akeley led teams of scientists and artists on three expeditions to Africa during the first two decades of the 20th century, wherein he and his colleagues carefully studied, catalogued, and collected the plants and animals that even then were disappearing. He brought many specimens from the expeditions back to the Museum, and used them to create the hall, with its twenty-eight dioramas.
The dioramas do not simply evoke the sites that Akeley visited—they replicate specific animals in specific geographic locations at a specific time. In creating these works, Akeley forever changed the practice of taxidermy—the stuffing and mounting of the skins of animals. Until then animal skins had been stuffed with straw or wood shavings. Akeley, however, began by re-creating the animal's shape with an armature made of wood, wire, and sometimes parts of the actual skeleton. He then used clay to add on each muscle, tendon, and vein. When this work was complete, he made a cast of it, and fit the animal's skin over the cast. This meticulous attention to veracity—which was applied not merely to the taxidermic mounts but the plants, background paintings and even the light in the dioramas—resulted in fastidiously realistic, vivid reproductions of the world that Akeley wanted to preserve.
The enormous hall showcases the vanishing wildlife of Africa, in spaces where the human presence is notably absent, and includes hyperrealistic depictions of elephants, hippopotamuses, lions, gorillas, zebras, and various species of antelope. Some of the displays are up to 18 feet (5 m) in height and 23 feet (7 m) in depth.
During Akeley's final expedition, he fell ill and died. He was buried in Albert National Park (now Virunga National Park), the first wildlife sanctuary in central Africa, which he had helped to establish. The mountain location of his grave is near the scene depicted in the gorilla diorama in this hall.
From Wikipedia
Tore installation by Marcel Berlanger, opening view, 4 may 2007.
Wiels (Contemporary Art Center), Brussels, Belgium.
See also an article (in french) on my blog : www.multimedialab.be/blog/?p=671
Marcel Berlanger : Tore
Whoever goes to see Marcel Berlanger's latest project will be entering a strange world of optical illusions. This Brussels-based artist is presenting an installation in which painting, light and sound resonate simultaneously within a single space: a large platform in the brand new centre for contemporary art, WIELS. Berlanger usually paints on supports he himself has designed, consisting of liquid resin and translucent fibreglass, and covered with a coat of reflective paint. Because of the fibrous structure of the supports and the hyperrealistic rendition of both geometric and human figures, his work has occasionally been described as photographic painting. In TORE, Julie Petit-Etienne's lighting design further intensifies the sweet taste of the optical illusion: a succession of short cycles of light plunges the exhibition space and the work into varying shades of colour, thereby suggesting movement. These ongoing transformations will stimulate, tickle and unsettle the viewer's perception.
Qui fait l’expérience du nouveau projet de Marcel Berlanger, pénètre dans le monde merveilleux de l’illusion optique. Le plasticien bruxellois propose une installation où la peinture, la lumière et le son résonnent dans un même espace, une immense plate-forme dans le centre d’art contemporain flambant neuf de WIELS. Berlanger confectionne lui-même ses supports. Ils sont composés de fibre de verre transparente rigidifiée à la résine liquide, qu’il recouvre de peinture reflétant la lumière. La structure fibreuse du support et la reproduction hyperréaliste font que l’on qualifie parfois ses œuvres de peintures photographiques. Dans TORE, le concept lumière de Julie Petit-Etienne intensifie les subtilités de l’illusion optique. Des cycles lumineux alternants immergent l’espace et l’œuvre dans diverses tonalités et suggèrent diverses dynamiques. Chaque métamorphose aiguillonne, titille et stimule la perception du visiteur.
Concept : Marcel Berlanger
Lighting design : Julie Petit-Etienne
Music : Cédric Dambrain
Presentation : Wiels, Kunstenfestivaldesarts
Coproduction : Wiels, Kunstenfestivaldesarts
© Marcel Berlanger
Dock Leaf - watercolour painting (work in progress).
Paper is Saunders Waterford hp - Size: 14 x 21 ins.
This image shows the painting in its early stages.
The layers of watercolour paint are added slowly in several transparent layers.
Search for Steve Greaves on Ebay and Amazon to find Original Artwork, Limited Edition Prints and Postcards for sale.
See more at: www.stevegreaves.com
See the reference photo here on Flickr:
www.flickr.com/photos/stevegreaves/2602952039/in/set-7215...