Art, anything goes...

Jason DeCaires Taylor, British sculptor and scuba diver grew up in Europe and Asia to an English father and a Guyanese mother, where he spent much of his early childhood exploring the coral reefs of Malaysia. Educated in South East England, he graduated in 1998 from Camberwell College of Arts, University of the Arts London, with a B.A.Honours in Sculpture and Ceramics. He's also a fully qualified diving instructor, underwater naturalist and award winning underwater photographer. In 2006 he founded and created the world’s first underwater sculpture park, off the west coast of Grenada in the West Indies. In 2009 he co-founded MUSA (Museo Subacuático de Arte), a monumental museum with a collection of over 500 of his sculptural works, submerged off the coast of Cancun, Mexico.

He's been causing quite a stir in the media with his newest, largest and most chilling installation yet, 403 life-size human sculptures, spanning 420 square meters of barren sea bed. Named “The Silent Evolution”. He uses his diving and sculpting skill to save the ocean by creating a series of underwater sculptures, often enormous in size, that serve as artificial reefs for the preservation of marine wildlife. He has sculpted two thousands underwater sculptures around the world, from Canary Island, Mexico, Indonesia and many more.

“Taylor’s sculptures change over time with the effects of their environment. These factors create a living aspect to the works, which would be impossible to reproduce artificially. As time passes and the works develop biological growth, they redefine the underwater landscape, evolving within the narrative of nature. Taylor’s strategy of conserving reefs, opposes the “land as commodity” mentality of Capitalism. His creation of underwater sculpture parks attracts tourists away from natural reefs, allowing them to recover, and taps into tourism revenue, showing how activists might be able to use the system’s rapacious tendencies against itself.” – Jim Buxton

The work, "Rising Tide", on the banks of the River Thames, fuses oil extraction machinery with the equine form, evoking the Four Horsemen of the Apocalypse and raising questions of the climate impact of fossil fuels.

Aesthetica Magazine - Jason deCaires Taylor

Jason deCaires Taylor | the PhotoPhore

Amazing Underwater Sculptures by Jason deCaires Taylor ...

The forms create an artificial reef that divers can swim down and see.

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Jason DeCaires Taylor - Ted Talks >> https://www.ted.com/talks/jason_decaires_taylor_an_underwater_art_museum_teeming_with_life


Ruby✌️
 

some William Steig...

William Steig (November 14, 1907 – October 3, 2003) was an American cartoonist, illustrator and writer of children's books, best known for the picture book Shrek!, which inspired the film series of the same name, as well as others that included Sylvester and the Magic Pebble, Abel's Island, and Doctor De Soto. He was the U.S. nominee for both of the biennial, international Hans Christian Andersen Awards, as a children's book illustrator in 1982 and a writer in 1988.

https://www.thecjm.org/exhibitions/65

Wikipedia:

https://en.wikipedia.org/wiki/William_Steig
 
Philippe Halsman’s work as a photographer consisted of capturing the essence of those he photographed. So when he had the opportunity to work with surrealist painter Salvador Dalí, he knew he had to make the picture look like one of his paintings.

There was no such thing as Photoshop in 1948, so this was all done in real life. The chair and easel were suspended by wires and, on Halsman’s count, three cats and a bucket of water were thrown into the air as Dalí jumped.

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Ruby✌️
 
Thanks Jon!
I loved the one of James Taylor
and the story behind it!
Artist ~ Joni Mitchell
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My Evening with Joni Mitchell and James Taylor Print-ready version

by Charly Mann
Hippie Tipi Blog
August 4, 2010

James Taylor painting done by Joni Michell in Chapel Hill over Christmas 1970
On Christmas Eve of 1970 I had just turned twenty-one and was managing the Record and Tape Center at 456 West Franklin Street. It was the largest record store in Chapel Hill history, and had a basement level that included a waterbed store as well as a high-end audio store. It had been a busy day for us, and I had been in the store since about 7:30 that morning. We opened at 10 AM and usually closed at 9 PM, but that night we stayed open until the last customer had finished shopping which was about 9:30. It was several degrees below freezing outside and I was eager to get home. I let my employees leave and started adding the day's receipts so I could place them in a deposit bag to drop off at the bank's night deposit window on my way home. As I was about to leave at 10:15 when there was a knock on the front door of the store from two bundled up people. Annoyed, I approached the door to say we were closed. As I got closer I noticed that the faces looked familiar. As I opened the door I saw in front of me James Taylor and Joni Mitchell, who were at the time the two most popular singer-songwriters in America. James' new album, Sweet Baby James, had been one of the top selling albums in the world since October, and Joni Mitchell's recent album, Ladies of the Canyon, had produced the radio hit, Big Yellow Taxi and her signature song The Circle Game, as well as the song Woodstock which was currently a top hit for Crosby, Stills, Nash & Young.
James explained that he needed to do his Christmas shopping and pleaded with me to allow him to buy some records. Of course I was excited about having James as a customer, but it was Joni Mitchell who I was most in awe of for her magnificent songwriting and incredible voice. I let them both in and James began going through our extensive racks of records and shelves of prerecorded cassettes. He said he wanted to first get some classical recordings for his Dad and I showed him where they were located. I told him to take his time, and explained how the rest of the store was organized. I then locked the front door, and it was just me, Joni, and James inside. Joni looked a bit bored and I offered to take her downstairs to see the waterbed store while James searched for gifts. Most of the lights in the store were turned off, with just a few security lights left on. I told James to come downstairs when he was finished shopping and I would then ring him up. I was excited about spending some one on one time with my idol, Joni Mitchell. As I recall we both sat on a large waterbed in our darkened basement lit only by several black lights. The long day and the surprise of getting to meet Ms. Mitchell in such an unusual way contributed to me being particularly awkward. I suggested we listen to the new Matthew's Southern Comfort album (which included a cover of her song Woodstock). She seemed delighted and holding the album noted how she had written that song. For some reason, which I have yet to understand, I assured her that she had not written than song, and it had been written by Ian Matthews, the leader of that group. For the record, I have an almost an encyclopedic knowledge of music facts going back to almost 1900, and Joni Mitchell was someone I was especially knowledgeable about, even before she released her first album, so I immediately recognized my mistake. Ms. Mitchell did not argue with my faux pax and remained polite and talkative until James came downstairs to say he had finished shopping.
I walked Joni and James back upstairs to the front of the store where the cash register was located and rang up the records and tapes James had chosen to purchase. The total was more than $110, a huge amount in those days (the average price of an album or cassette was about $3.50). As I gave James his total he began fumbling for his wallet and started to look a bit embarrassed. He said he had forgotten his wallet, and asked if he could come in the day after Christmas and pay for his merchandise. Being in the Christmas spirit and hoping to redeem myself from my embarrassing statement to Joni I said that would be fine.
Early Saturday morning Joni Mitchell came into the store and presented me a personal check for the merchandise James had bought. (I still have a copy of that check somewhere.) I did think it strange that Joni paid for the gifts James got for his family. She was all smiles and seemed to enjoy seeing me again. I asked what they did on Christmas day, and she said they went out caroling. I imagine the Taylors' neighbors on Morgan Creek Road were delighted and surprised to hear and see Joni and James singing in their yard.
The following Monday Trudy, James's mother, came into the store and asked if I would like to display a painting Joni Mitchell had done of James over Christmas. I told her I would be delighted (ecstatic was more like it). She brought it in, and I placed it in the front window of the store for at least two weeks before she came to collect it. I am not sure what that painting would be worth today, but I am guessing at least several hundred thousand dollars.
 
Thanks for that link, @JonSR77
I didn't know that Joni Mitchell was an avid artist, and I had no idea that she did that portrait of herself, called Clouds, that was used for an album cover!
The short yet wonderful story explaining that one, is worth reading as well.
 
Hand Painted Hyperrealistic Art
Young-sung Kim paints incredibly realistic depictions of
fish in glass bowls using oil paint and tiny brushes.


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South Korean artist Young-sung Kim has made a name for himself thanks to his hyperrealistic oil paintings of fish swimming in glass bowls and cups. Kim uses minuscule brushes to pull out every detail of his subjects, whether it be the colorful tail of a beta fish or the shimmering scales of a goldfish. Painted on large canvases, the animals are laid out like living still-lifes for the viewer to admire.

The photorealistic paintings are part of Kim's ongoing series Nothing. Life. Object. that speaks to the disintegration of modern society in the face of the “advanced development of material civilizations.” By juxtaposing living and material things and displaying them as a piece of theater or advertising, Kim wishes to comment on society's tendency to neglect living organisms.
 
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