While collecting copyright-free material for personal projects I came across these magnificent photographs by Edward Sheriff Curtis from around 1914. These are all included in the Museum of Photographic Arts Collection, part of the Flickr Commons.

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No Land is a photography project by Kiritin Beyer:

“‘No Land’ is a constant battle between man-made structures and artificial landscapes, based on the idea of ownership, compared to the naturally created lands where spirits dance and cheer.
The project shows how the industrial revolution has effected our land, flora, and fauna. Abandoned structures of an industrial age are an echo of generations past — many of these places carry an idea of mass production and creation — but when pitted against the supreme creator, it is nature which prevails powerfully in its simplicity and perfection.”

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Fantastic variety of typographic posters by Jessica Svendsen

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Drawings by Thomas Raimondi:

“I am Thomas Raimondi aka Thomas Ray aka El Ray, a 31 year old man from a small city near Milan, Italy. I create images from the underground. Like a Wolf Eyes song I wanna burn your house down. No Mercy. No Regrets. No Hope. No Future. No God. No Church. No Fathers. Life’s a bitch, whom I have no money to give.” 

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Generative visual art by Jonathan McCabe:

“The Method goes something like this. Imagine a square sheet of paper, and mark a dot somewhere on it and record its position. Fold the paper along a random axis, and watch where the dot ends up, recording this position. Repeat this thirty-two times. Use a weighted average of that list of points to determine the colour (or at least hue and brightness) of that original point. Now repeat, using the same folds, for as many points on the square as you like (say, several million). What I love about this is that despite the intensely tactile quality of the surfaces, these images have no “thing” to them: they’re visualisations of transformations of space – traces of topological history. This generative technique has lots of neat features. It’s resolution-independent (you can sample as many points as you like), the procedure is simple and compact (32 folds) and because it’s a sequence, it’s richly connected with image structure: the first fold is the most significant in controlling macro-structure, and the last fold influences the smallest level of detail. McCabe uses genetic algorithms to search and “optimise” the space of possible fold sequences / images.”[this quote relates to McCabe's exhibition The Origami Butterfly Method, not these displayed artworks]

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Photography by Maurice van Es:

“In my own work I always try to describe my relationship towards my subject, which is always personal. I’m not that much of a photo designer. Yes I design the objects I find but they always came to me by accident, just from living my life. I would never buy objects in a store to photograph them. That just doesn’t feel right and a bit forced. For me it’s really important that there’s still an attachment to life itself.“

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Laurie Mccall is an artist, designer and illustrator based in Cornwall:

“I love the often unpredictable nature of working with found imagery and I’m always surprised by the outcomes.”

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pic of the day:

Noah Kalina

Abstract and conceptual sculptures by artist Lauren Elder:

“The main focus of her research is on the transformation of symbolic behavior through mass production and the resulting loss of information. Her aim is to recreate the commercial promise of the “all-in-one” consumer object through the use of failure in construction and functionality.”

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Lie Dirkx works mainly with paper and textiles, creating a variety of illustrations including these nice candid patterns.

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