This is one of Brandon Jan Blommaert‘s junk sculptures. I love the idea of re-using junk but I think what I like the most is the close resemblance to the monster in Where the Wild Things Are… which, by the way, should be an awesome movie!
For my tenth installment of All Things English…
English supermodel Kate Moss has officially earned her weight in gold thanks to English artist Marc Quinn‘s latest sculpture called Siren. His sculpture of Moss is said to be the largest solid-gold statue to be made in the world since the time of Ancient Egypt. Quinn estimated the value of the life-sized, 110 lbs, three feet tall (because she is in a seated yoga pose) sculpture at more than £1.5 million.
Speaking about choosing the supermodel as a subject, Quinn said: “I thought the next thing to do would be to make a sculpture of the person who’s the ideal beauty of the moment.”
Quinn’s latest work, which shows Moss in a yoga pose, is part of a collection, entitled Statuephilia, by contemporary artists going on display at the British Museum.
It is the second time the London-born artist has used the model as his muse. He previously created Sphinx, a white-painted bronze sculpture of the fashion icon.
Quinn is also known for Self, a bust of his head made from eight pints of his own frozen blood.
Gormley said: “The British Museum is a laboratory of possibility for any creative mind. It is filled with objects that reach across time and touch us intimately.
The exhibition will run from October 4 to January 25.
The Bean, a.k.a. Cloud Gate, is a public sculpture by Anish Kapoor in Millennium Park in Chicago, Illinois. It’s made of 168 highly polished stainless steel plates, and stands 33 feet high, 66 feet long, and 42 feet wide, and weighs 110 tons. Inspired by liquid mercury, it was designed to reflect the city’s skyline. I just want to touch it!
Check out French photographer and designer, Marianne Maric‘s Lamp Girls.
These “lamp-girls” were first conceived as an illustration of the woman as a thing conveyed by the “entertainment world,” but gradually ascending to a state of consciousness. These photographs were part of a broader vision: once the costume was finished, the “living” model put it on and took place on a white rotating base into a dark room. The public had the choice to turn on or off the lamp, the dress, the girl, the room. I wanted to “immortalize” this moment when a woman become a simple household appliance. That is how these photographs were born.