Author: ultrawolvesunderthefullmoon

https://www.instagram.com/wolvesofgray This blog is a refugee and a survivor of the Great Tumblr Inquisition of December 17th, 2018. I am gay artist, who received training at the Rhode Island School of Design, and now, a retired high-end fine art framer living in Maryland, USA. My interests and studies in life run a wide gamut from art to history and from the scientific to the esoteric. I have been building this blog of images and texts for the last eight years. My wish is that my posts pique the interest of viewers and encourage them to experience more.

Ricardo Villani

Photographer Unknown, Brazilian Model Ricardo Villani, Photo Shoot

Ricardo Villani appeared on the cover of the April 200s issue of G Magazine, a Brazilian gay men’s magazine featuring frontal nudity and articles for the gay community. It was a monthly magazine created by Ana Fadogas that ran from May of 1997 until June of 2013. Its circulation was approximately 180,000 issues a month.

 

Thomas Shields Clark

Thomas Shields Clark, “The Cider Press”, Bronze, Golden Gate Park

Thomas Shields Clark graduated from Princeton University in 1882. He was a pupil of the Art Students League, New York, and of the École des Beaux-Arts in Paris. Later he entered the atelier of Pascal Dagnan-Bouveret, and, becoming interested in sculpture, he worked for a while under Henri Chapu. As a sculptor, he received a medal of honor in Madrid for his Cider Press.

This 1892 Bronze sculpture was originally exhibited at the Midwinter International Exposition in 1894. The Apple Cider Bronze bears some resemblance to Douglas Tilden’s Mechanics Monument located on Market street in that it bears tribute to the value of hard work. However, this purchase and contribution by DeYoung was apparently inspired by art rather than memorial, since the only cider industry of note in the San Francisco Bay Area is Martinelli’s (1868) located in Watsonville, down the peninsula.

This statue was originally a drinking fountain with a cup attached by a chain, and some say it ran with cider instead of water.

Salvatore Albano

Salvatore Albano, “The Fallen Angels or The Rebel Angels”, Marble, Dark Stone, Bronze, 1893, Height of Marble Group, 154.9 x 147.3 cm, Brooklyn Museum, New York

Born in the southern commune of Oppido Mamertina in May of 1841, Salvatore Albano was Italian sculptor. He was known for his elegant conceptualization of form and his expertise in its execution. 

Albano’s career began at an early age in the Calabria region, where he carved wooden Nativity scenes. Impressed with his talent, he was given a stipend by the regional government in 1860 to study in Naples. Albano initially studied at sculptor Sorbille’s studio in Naples, and then at Naples’s  Academy of Fine Art under its director, the sculptor Tito Angelini.    

As a young man, Albano earned considerable success in 1864 with his marble group, entitled “Conte Ugolino”, which was purchased by the marquis Agostino Sergio. In 1865, the region of Calabria extended his annual stipend of sixty lire for another three years. That same year, Albano won first prize at the Academy of Fine Art in Naples for his “Christ nell’Orto (Christ on the Mount of Olives)”. 

Salvatore Albano submitted two works, “The Resurrection of Lazarus” and “Cain”, to a exposition in Rome in 1867. He had completed by 1869 two more works, a figure of Eve and a bust of the Italian composer Gioachino Antonio Rossini. Albano also relocated to Florence in that year, where he would spend the remainder of his career. While in Florence, he completed several more works in marble, including the “Venere Mendicante”, and two plaster-cast statues, “Mephistopheles” and “Marguerite”, which were exhibited in Paris at the Salon of 1881. 

Albano’s last work was the figurative composition “Fallen Angels”, set on a marble, dark stone, and bronze base. The marble figures of the angels was finished in 1893; the dark stone carved base, which measures 40 x 57 inches, was finished in 1883. Salvador Albano died in Florence in October of 1893 at the age of fifty-two.

Note: In the National de Arta al României (Simu Museum) in Bucharest, there is a statue entitled “Slave” which is attributed to Salvador Albano. 

 

Daniel Serva

Ten Images by Venezuela Photographer Daniel Serva

When Daniel Serva embarked on “365 Project’”, a daily visual journal of his emotional state throughout the year, he did not imagine the impact it would have on him, and the thousands of followers he has since collected on his Instagram page. The seamless integration of real imagery — shot on location in natural landscapes and urban settings — with post-production effects, forms a spectrum of both humorous and abstract compositions that reflect the sometimes wayward nature of life’s everyday triumphs and challenges.

At the project’s inception, Serva began experimenting with different ways to communicate sentiments — like anger, shame, sadness, joy and grief — by using photography and digital manipulation as artistic mediums. “I started to see photography as a way of self expression. I understood how powerful an image can be that has meaning to you. I knew that photography was my way to escape, make catharsis and ‘be’ without even talking.” Now about mid-way through the project at day 182, the venezuelan student explores complex emotional themes with a surrealist twist, expressing his mental state through a series of otherworldly self-portraits and scenes.

Ami Drach and Dov Ganchrow

Man-Made Collection by Ami Drach and Dov Ganchrow, Updated Stone Tools

The ‘man made’ collection by Tel Aviv-based designers Ami Drach  and Dov Ganchrow is a series of contemporary artifacts that proposes various gripping and slicing possibilities. The concept originates from the different stone hand-axe forms rather than specific utilitarian actions used in the stone-age. Each of the white 3D printed handles complement and highlight a singular use of the tool – the extensions effectively transform the ultimate multi-tool into a specialized object.

The flint hand-axes were three-dimensionally scanned at the Hebrew University, Jerusalem’s Institute of Archaeology. with support from Stratasys, the handle files were printed in Verogray – a performance polymer. The parts were then prepared and assembled on the original flint hand-axes, effectively joining the two most temporally distant making technologies: flint knapping and 3D printing.

“Any multi-tool becomes specialized when frozen at a single moment in time during its use. The first stage of the project was one of hastened evolution and bleeding: flint rocks of desirable size, shape and material quality were sourced from the Negev desert in southern Israel, while time was spent improving and understanding the skill of knapping. Basically this involved the striking of flint with a softer stone (historically a striking bone or antler was also used) to create controlled breakage, and chipping away flint flakes as the impact’s shock wave runs through the stone. Needless to say this is also where the bleeding comes in.” – Dov Ganchrow

Florian Kaltenbach

Florian Kaltenbach, “Faceoff Boxing”

Florian Kaltenbach is a film director from Berlin, Germany. He directed, wrote and produced the 2007 short film “Delay”, an experimental film in which a guitarist who perceives sound with delay fights to make music again.

If you like the boxing gif above, the link below is directs you to the clip of Kaltenbach’s boxing segment from his work “Faceoff Boxing” . Enjoy.

Kaltenbach’s most recent work can also be found at his site: https://floriankaltenbach.com/tags/recent%20work#36

https://vimeo.com/151646424

Bronski Beat, “Small-town Boy”

Bronski Beat, “Small-town Boy”

“Smalltown Boy” is a 1984 song by the British synthpop group Bronski Beat. It was released in June 1984, and appeared on the band’s debut album The Age of Consent, released in December 1984.

The song is a popular gay anthem and was a big commercial success, reaching number 3 in the band’s native UK. It was also a number one hit in the Netherlands and Belgium, and hit the top 10 in Australia, Canada, France, Ireland and Switzerland. The track reached number 48 in the US pop chart and was a number one US dance hit.

The song addresses key issues in 1980s LGBT culture. It addresses family rejection for being homosexual and homophobia in British society. It also deals with loneliness and bullying through societal and familial rejection.

(Source: https://www.youtube.com/)