Juxtapoz // Sunday, July 24, 2011
We don't think we have ever seen anything like this; Natalie Irish paints portraits using her lips with lipstick as her materials. Translation: she puts on lipstick, and then kisses the canvas to create portraits.
Juxtapoz // Friday, July 08, 2011
T-Radya creates portraits of Russian WWII soldiers by creating faces from bandages on wooden boards and then burns them to create this very discarded, aged form of street art. It doesn't make sense completely until you see the portraits put onto walls, and in this case, placed on an old WWII hospital in Yekaterinburg, Russia.
Juxtapoz // Wednesday, June 01, 2011
As part of his "Ordinary People and Disposable Objects" series, Israel-based artist, Idan Friedman created these regal looking aluminum foil pan portraits. Even the subjects in the portraits are friends and casual acquaintances of the artist, his portraits make each look like 18th Century royalty or political heavyweight.
Juxtapoz // Monday, February 07, 2011
As we prepare to release our Juxtapoz Presents video profile on Sam Bassett, we look back at some of the great Juxtapoz portraits shot by the photographer. Mr. Bassett has been our contributing photo editor and integral part of our visual appearance for over 3 years, and seeing his a body of work in near full shows his common threads and experimental nature. Images after the jump . . .
Juxtapoz // Sunday, January 30, 2011
We just stumbled across the photorealist paintings of Steven Albert, and as they were containing street shots of San Francisco, incorporating local graffiti and local businesses, we did some more research and found more of his body of work. More looks after the jump . . .
Juxtapoz // Tuesday, January 25, 2011
Our Helen Soteriou sat down with the floppy disk artist, Nick Gentry, whose work is currently on display in Barcelona at Le Pan. As mentioned in his mission statement, "[Gentry's] portraits use a combination of obsolete media formats, making a comment on waste culture, life cycles and identity." Interview after the jump . . .