John Currin

Thanksgiving by John Currin, 2003, The Tate Collection, London.

John Currin's artwork brings to mind the naturally lit rooms of Vermeer and the realistic, beautiful, yet often grotesque figures of Odd Nerdrum. What I see here are three women, obviously related, preparing a huge turkey for Thanksgiving, but the turkey is really the star. It is impossibly fat and huge, I have a hard time believing they will be able to fit it into an oven.

Happy Thanksgiving. Your Daily Art

“Surrealismus in Paris” at Fondation Beyeler, Riehen, Basel

La poupée by Hans Bellmer, painted wood, papier-mâché, mixed media, 1935/36, 61×170×51 cm, courtesy Centre Georges Pompidou, Musée national d’art moderne, photo © Collection Centre Pompidou/Vertrieb RMN/Georges Meguerditchian/ProLitteris.

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Francesca Woodman

Francesca Woodman in her studio, Pilgrim Mills, Providence, RI,1976, click on image to animate, Douglas D. Prince

Lytro

Camera of the Future of the Camera

Lori Nix

"Library",  2007,  Lori Nix

Javier Rodriguez

"The Winds & Waves that Waft to Love"

Collage on paper. 2007. 40cm x 25cm

Mark Sink

Wet Plate by Mark Sink, A-kristen_behind_blu#27B016

Kevin Sloan

"King of the World"      Kevin Sloan

Joan Figueiredo

Paintings by João Figueiredo

Title: Olaf Stapledon, Last and First Men

It was much as though a blind race, after studying physics, should invent organs of sight

Alberto Baraya

The first is Herbarium of Artificial Plants for which Alberto Baraya took the role of a botanical explorer and collected, catalogued and displayed artificial plants from some of the earth's most fertile places, starting with Colombia, his own native country and one of the world's most biodiverse countries. Made out of plastic or fabric, the samples are dissected and exhibited inside botanical slides that rigorously detail the false plant parts and their characteristics.
Baraya's concern is representation, not ecological critique. "A lot of people need a relationship with nature, the good feeling of nature, but they sometimes get it through artificial plants. We need the representation of nature more than the reality" (via.)

Alberto Baraya, Herbario de plantas artificiales, 2002-2011

Alexis Anne Mackenzie

Alexis Anne Mackenzie,"The Bird with the Crystal Plumage" (2010). Hand-cut collage on paper, 30 x 22 inches.  “All of my collages are composed by hand — cut from books I’ve been collecting for years, and painstakingly pieced together as seamlessly as possible. They create themselves through a process beginning with a loose concept, followed by a series of trials and errors, subtle maneuvers, selection/elimination, harmonious unions, and happy accidents. It is a meditative process, and there is a lot of decision-making behind each element involved. My general intent, throughout all my work, is to portray the world as a flawed thing of beauty — a place that shines brightly, but has a dark side to match.”

Alexis Anne Mackenzie,"The Bird with the Crystal Plumage" (2010). Hand-cut collage on paper, 30 x 22 inches. 
“All of my collages are composed by hand — cut from books I’ve been collecting for years, and painstakingly pieced together as seamlessly as possible. They create themselves through a process beginning with a loose concept, followed by a series of trials and errors, subtle maneuvers, selection/elimination, harmonious unions, and happy accidents. It is a meditative process, and there is a lot of decision-making behind each element involved.
My general intent, throughout all my work, is to portray the world as a flawed thing of beauty — a place that shines brightly, but has a dark side to match.”