Artist and title unknown.

(via sawaru)

How to Create a Beautiful Picture 6: Tights in Shimotakaido, gelatin silver print, 1987, Daido Moraiyama.

Taut and architechtural erotic photography from Moraiyama, whose works - in a similar but tamer manner to Diane Arbus - dramatically expose an urban underbelly.

Rainbow, Linza Feldman.

Feldman is an artist from St. Petersburg, Russia with a portfolio full of well-crafted graphic design work. Above is my favourite of the works on her Behance portfolio. The voyeuristic perspective, erotic anonymity and gradual geometric dissolution are just perfect.

Body Sculpture, 1972, Hans Breder

Surrealist, conceptual photographer, and founder of the first university course in ‘intermedia’, it seems that Hans Brede has also experimented with the kind of erotic dismorphia that Hans Bellmer became noted for.

Wikipedia: ‘…the areas such as those between drawing and poetry, or between painting and theater could be described as intermedia. With repeated occurrences, these new genres between genres could develop their own names (e.g. visual poetry or performance art.)’

Untitled illustration by Hans Bellmer

Hans Bellmer’s contorted, conjoined mannequin sculptures and slow, tense photographs of the same were the inclusion that gripped me tightest at the Surreal Things: Surrealism and Design exhibition I saw at the V&A in 2007; they packed enough sex, anger and promise that he has occupied a place amongst my favourite surrealists since.

This illustration pairs his unmistakable flair for subverted human form with a beautiful segment of skin, stone and colour which calls to mind another master of form (albeit through sheer grace rather than erotic force): Henry Moore.

Lepus, Denise Nestor

Nestor is a graphic designer working in Dublin, and trades in a soft, feminine and decorative style that sidesteps ‘pretty’ and is all the more effective for it.

via (hushaby) and (yayeveryday)

Alberto Mieglo - best known for his wipe-clean illustration work which is at once surgically detailed and brimming with character - in his ‘Pinkman’ guise, proving that he animates just as well.

For me, it felt as if the Deutsche Börse Photography Prize 2010 at the Photographers Gallery was staged dispassionately and unintuitively, with the effect that Sophie Ristelhueber’s broody prizewinning politicised works seemed neutered at first. On the second circuit of the gallery their impact is clear - her mid-eastern pictures use judiciously overt digital manipulation and are, to a casual, ignorant visitor like me, attractive through the editorial flair they display.

However, my personal show highlight was the wryly selected downbeat-and-at-heel shopfront photographs by ‘chronicler of the overlooked’, Zoe Leonard.

Free and definitely demands a visit before the exhibition ends on 18th April.

May Picture, etching 734x272 mm, 1949, Ernst Fuchs

via iheartmyart