The first indication for a probably faulty (disturbed) relationship…
The first indication for a probably faulty (disturbed) relationship…
ABOUT THE ARTIST
Gerhard Haderer (born 1951 in Leonding, Austria) is an Austrian cartoonist and caricaturist.
Haderer studied at a technical art school in Linz for four years from 1965, and then studied engraving in Stockholm Gerhard Haderer (born 1951 in Leonding, Austria) is an Austrian cartoonist and caricaturist.
He returned to Austria in 1971 and worked as an independent commercial artist and draughtsman. He developed his photo-realistic style working on advertising, illustrations, and even designing maps for the Salzburg tourist board.
In 1985, after a cancer operation, he abandoned his commercial career to become a freelance caricaturist and satirical illustrator.
His first satirical works appeared in the upper-Austrian magazines “Watzmann”, “ORF-Ventil” and “Oberösterreichische Nachrichten”.
He soon began to appear regularly in the Austrian weekly “Profil” to which he still contributes.
His work then began to appear in newspapers and magazines in other German speaking countries.
Since 1991 his work has appeared regularly in Germany’s “Stern” magazine as “Haderers Wochenschau” (“Haderers weekly news”).
From 1997 to 2000, and from 2008 he published his own monthly satirical comics magazine called “Moff”.
He has produced designs for several satirical puppet shows.
2001: Deutscher Karikaturenpreis, Geflügelter Bleistift in Gold (German caricature prize, winged pencil in gold)
2008: Goldenes Verdienstzeichen des Landes Wien (Golden Merit of Vienna)
Human: Heeelp!!!! I cannot swim…
Comment: Very often sharks have rescued humans near drowning.
Big Fish: “Dude, it must be becuase of free health care and other social benefits…”
Slim Fish: “…otherwise he would be out there.”
The Tiny Worm (= my favorite): Is Just Watching.
Last Saturday, I set up what you might call “The Smallest Book Promotion Booth In The World” at out church’s annual Flower Festival. (All royalties from the book until December 31st of this year will go to support the mission of St. John’s Church.) The little wooden stepladder was the one my chickens used when […]Family Photo Friday! — My Life With Gracie
Therapist: “Na, what`s up (how are you doing)?”
Client: “Not today. I`ve got stomach pain…”
Graffiti has been known in Italy since the ancient Romans, who decorated the walls of Pompeii and the catacomb with declarations of love, curses and magic spells. In fact the word ‘Graffiti’ derives from the Italian word ‘graffiare’ meaning to scratch something into a surface, and people in Italy still write their passions on the walls.
Though lately – it seems to me – subject matters have changed from ‘Ti amo’ and ‘Forza La Juve’ to political statements. Could be, that graffiti in Italy has gone from personal to political in order to reflect the current economic crisis and migrants crisis.
OPERATION SUPERMARKET: Rebranded products and packaging talking to us…
The series operation supermarket is “mixing detergents with poetry”, Aliabadi & Moshiri explain.
The emphasis seem to be on the commodification of mainstream media traits – not only in the Middle East – but also on a wry parody of mythical hopes still pinned on the commodity itself as capitalistic change agent.
The eye-catching series points out how people are identifying themselves with the product – or even more precise – the packaging, they are purchasing. In my view, it is in particular exciting to utilize all-day products to transport messages with a dash of irony.
The approach to “mix detergents with poetry” might be a reference to the Persian culture to paint emotional pictures with words instead of using figurative arts to express themselves (possibly, also due to islamic restrictions?). Persians seem to have an obsession with poetry and the art of calligraphy.
Isn`t it strange that we are expressing our feelings and needs by consumption instead of addressing them in real life?
How do you want to assert your interests, satisfy your emotional needs, demand for change, effectively take a position and develop a personality by buying detergents, chocolate, fashion or other commodities?!
Actually, I think of a similar supermarket series for some time – triggered by the offering of tea and shower gel in particular. Admittedly, I am very disappointed and discouraged that somebody else had the same idea much earlier…
Aliabadi & Mashiri utilize the vehicle of advertisement to get our attention and talk to us…Just listen to them.
ABOUT THE ARTISTS
Shirin Aliabadi (10 March 1973 – 1 October 2018) was an Iranian contemporary multidisciplinary visual artist whose work focused on women’s issues, gender representation, and the beauty industry. She’s best known for depiction of rebellious Iranian women in her Girls in Cars and Miss Hybrid series of photographs.
Aliabadi was born in Tehran, Iran in 1973 to Maymanat and Iraj Aliabadi. Her mother, Maymanat is an artist and taught at Tehran University. Her father, Iraj was a poet who worked for an insurance company. She was also mentored by older brother who coached her on art, music, and pop culture. Aliabadi grew up surrounded by artists and intellectuals, and the standard of living for the family was high until the Iranian Revolution in 1979. Her parents lost their jobs, but were still able to send her to study in Paris. Aliabadi studied art history at the University of Paris, where she also earned a masters degree in art history.
Aliabadi married Farhad Moshiri, another artist in 1993. She commuted between Paris and Tehran for most of her career, but was primarily based in Tehran where she was represented by The Third Line gallery in Dubai for more than ten years.
Her work has appeared in solo exhibitions in Dubai, Tehran, London, Switzerland and Denmark and in group exhibitions at the Institut des cultures d’Islam in Paris, the Gallery of Modern Art in Glasgow, at Frieze New York, at the Chelsea Art Museum, in Monaco, in Rio de Janeiro, in Copenhagen, in Italy, in Norway, in Estonia, in Germany, in Switzerland and in Spain.
Her work is held in the collections of Deutsche Bank AG in Germany, the Bristol City Museum and Art Gallery and the Farjam Collection in Dubai.
Shirin Aliabadi died on 1 October 2018 in Tehran, Iran after a battle with cancer. RIP.
Poland has become the land of the giants.
In cities across the country artists have transformed the sides of houses and apartment blocks with enormous murals, some pieces stretching upwards of ten stories.
The artists behind most of the colossal pieces are Przemyslaw Blejzyk and Mateusz Gapski, also known as Sainer and Bezt, and collectively as “Etam”.
The two twenty-somethings met at art college in the central Polish city of Lodz having been into graffiti in their teens. They now work together on many of the projects.
The duo has also worked with Natalia Rak, another young Polish artist who has produced her own larger-than-life pieces in Poland and the United States.
Most of the recent projects by Rak and Etam have been commissioned by local city festivals, which have given the artists permission to paint without worry about being caught or prosecuted.
From a tumbling jockey to a fantasy tree house, the artists employ a mix of modern styles and motifs from traditional Polish folklore.
Each piece takes around a week to produce., and the reaction from the public is usually positive. The street artists invite the people to stop for a minute and to turn on their imagination.
Weirdly Calorie Bombs that are tempting only at first sight and from a distance.
On the second sight and looking at Wayne Thiebauds pies, ice cream, juice and other sweets, an uncomfortable feeling involuntarily creeps in.
The pastel colors (50s like, economic boom time with the promise that consumption will make us happy), the creamy color application that provides almost a 3D-effect and the delicious motifs and the beauty of the cakes, pies and ice cream rise your appetite…and then suddenly, you start thinking that some thing is terribly wrong.
Is it the degree of abstraction that let the pies & sweets look “lifeless” and like cloned with calculated deviations to pretend that the food is hand-/home-made?
Is it the arrangement of the food? It reminds on serial production and the showcases look like incubators in my view.
Is it the fetish-like, somehow aggressive (pushy) and clean presentation of the cakes, juice & ice cream?
The “cold, clinical light” creating amazing colorful shadows that provides a kind of “artificial touch” and lead to an association of food laboratory and industrialized, unhealthy fake food?
The motif seems to uncover the broken promises of advertisement.
The lack of a background?
Or details like the colored contour lines?
Somehow the bakery & candy looks dangerous not only because of the high sugar, fat and artificial flavoring substances contents but also because of its persuasiveness to makes us believe that we want it despite of the suspicion that it is not good for us.
These sweetened, sugar-coated products won`t nourish us. It won`t satisfy our hunger – neither the physical one nor the emotional one.
Consuming fluffy, creamy gateau – you can easily eat in binge eat – won`t fill the void in our lifes….in us.
These master pieces of product development are surrogats /substitutes for something you cannot buy.
No…These “Sweet Dreams” are – on the quiet – toxic.
ABOUT THE ARTIST
Wayne Thiebaud (born November 15, 1920) is an American
commonplace objects—pies, lipsticks, paint cans, ice cream cones, pastries, and hot dogs—as well as for his landscapes and figure paintings.
Thiebaud is associated with the pop art movement because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic pop artists.
Thiebaud uses heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.
You can find his stunning work in many famous collections.
On October 14, 1994, Thiebaud was presented with the National Medal of Arts by President Clinton.
He also received the Lifetime Achievement Award for Art from the American Academy of Design in 2001.
Thiebaud was inducted into the California Hall of Fame in 2010 at the California Museum, Sacramento,
and in 2013, he was honored with the California Art Award in recognition of his part in raising the prominence of California art around the world.