Art.In.General

Welcome to the Afterimage Gallery website. We are located in Dallas, Texas and are one of the oldest art galleries in the world devoted to photography. This is our 39th year of operation, and this year some one million people will visit this site. We provide a large variety of photography at a wide range of prices.

A blog entry on Kurt Schwitters in Spanish with some very nice illustrations - later stuff.

Books and their illustrations from Leonard Baskin and his publishing venture, The Gehenna Press.

Take a look at the incredible sand art created specially for the Ghost Whisperer by artist Joe Castillo.

A great selection of Japanese art from antiquity as well as contemporary works from the Japan Society in NYC.

Design and illustration work of David Plunkert and Joyce Hesselberth.

Stunning, color photos from Russia in the very early 1900s.  The clarity is astounding.

You are walking along a city street when suddenly you are confronted by the totally unexpected. A wall of greenery rises vertically up the face of a building nearby, and architecture takes on a whole new dimension. Not only are those who instigate this type of cladding being environmentally friendly. They are saving money as well.

Shaun began drawing and painting images for science fiction and horror stories in small-press magazines as a teenager, and has since become best known for illustrated books that deal with social, political and historical subjects through surreal, dream-like imagery. Books such as The Rabbits, The Red Tree, The Lost Thing and the acclaimed wordless novel The Arrival have been widely translated throughout Europe, Asia and South America, and enjoyed by readers of all ages.

This video will teach you how to get started on a crocheted Infinity scarf.It will show you also how to do a chain stitch and a half douvle crochet stitch.

good for handmade vs. industrial process 3d design classes

The design for the Kaohsiung Cruise Terminal by Emergent is interior driven, biasing building section, and interior spatial effects. The goal is to create a cavernous space which will appear simultaneously massive and lightweight. The project oscillates between volume and surface, avoiding the limitations of exclusively surface-based and volume-based architectures. The Port Services Center, made up of string of hard elliptical volumes, is pushed down into the soft bubble of the Ferry Terminal, so that exterior skin becomes interiorized. This nesting action allows for functional division between the programmatic elements while creating complex interior formations. While the Ferry Terminal is oriented towards the inside, the Port Services Center- consisting primarily of offices- is oriented towards the outside, with views out to the city and the ocean. It is a building within a building. The skin of the Ferry terminal is constructed out of transparent ETFE membrane and hard fiber-composite Armor Plates. These Armor Plates operate as both structure and ornament. They create stiff zones in the skin where the membrane can be affixed. Ultimately, the construction system is a hybrid of shell and membrane construction types- what we now call Shell-branes. A pattern of color flows over the armor, both responding to underlying formal features, and at times becoming graphic. Similar to a butterfly wing, coloration follows competing criteria, such as structural and optical pattern logics. Gradient effects begin to blur boundaries between opacities and transparencies, creating unifying visual crossovers between the two systems of the Shell-brane. The open space to east and west of the buildable area is designed as new kind of park, which does infrastructural work as well as supporting the picturesque. It is an organic machine, where energy is cultivated and grown inside algae photo-bioreactor pods. Using sunlight as well as artificial light at night, these pods gener

Illusion, fun, optical, flash, graphic, and more.

Really fascinating. Everyone should take a look at this! :D

In troubled economic times, there is only one high rise office tower being built in Brisbane. So enamoured was the client, GPT, with the design by Cox Rayner Architects that he decided to proceed on the basis that the building's aesthetic, environmental and workplace benefits would lure prospective tenants. The tower's structure is organic in that the columns twist and turn up its 45 storey height, emerging through the roof to form a tree-like canopy. The resulting filigree of structure reflects the city's two iconic Fig Trees in the building's forecourt, but the rationale for the concept was initially pragmatic. This was because the tower is being built over a wide existing loading dock such that there were few points on the ground where columns could land. Cox Rayner Architects with their engineers ARUP devised a structural system where loads could be gradually transferred diagonally down to the land predominantly on one side of the site, avoiding the dock. The concept evolved with several attributes. The columns in the 'web' are abnormally thin at 600 - 400 wide, maximising views to the river. Less concrete is required than in conventional typologies entailing reduced embodied energy in construction. Overall the tower is currently measured to be above 6 star rating under the Green Building Council of Australia's Green Star Design Rating System. The tower has a corner services core that also maximises the availability of views to the office areas, with the structural frame wrapping around the remaining volume inside a glass skin with operable blinds responding to solar orientations. The ground plane is designed as a public thoroughfare space linking the city to its main ferry terminal, such that the foyers are at the first level above. This design enriches the sense of lightness and space for which the building will become renowned

Archive gargoyle and grotesque exhibition at Herbert F. Johnson Museum of Art in 2002.

Scene from Solaris that shows lingering close-ups of Bruegel's Hunters in the Snow.