Post-Nerd Prom portrait of your pitiful narrator, afflicted with the dreaded Con Plague, or perhaps some form of eyeball-displacing orbital tumor.

Apologies for not updating in “real time” on Sunday, but I’ve been slimed. That is to say, I have succumbed to the dreaded Con Crud, and could not muster the strength to lift my fingers (blackened, trembling, tumescent with pus) to type this missive until now. Tonight (scabby, delirious, drowning in my own phlegm) I’d like to share a consolidation of ComicKAAAAAHHHHN postcards, and quite possibly my death rattle, with you.

To start things off, here’s a chick straddling a seahorse monster:

This cover image of The Fabulous Women of Boris Vellejo & Julie Bell is fabulous indeed. It would be even more fabulous with the addition of some strategically placed tiny bubbles, don’t you agree?

Weta director/effects supervisor Richard Taylor, yours truly, and the almost intolerably scrumptious prototype for Dr. Grodbort’s Ray-Blunderbuss.

Saturday night marked the opening reception of the Fantastic Contraption exhibit I’ve been blustering about. Curated by Device Gallery owners Greg and Amy Brotherton, this show focuses on man, machine and the fusion of the two.

A very happy Greg Brotherton with his work.You may have seen Greg on Coilhouse before – read Nadya’s writeup here.

Device is nestled comfortably among dozens of galleries near the ocean. The touristy neighborhood is full of art, boutiques and eateries but there’s nothing quite like Device here! The gallery has plenty going for it besides its location, too – its spacious interior is overflowing with art I’d only dreamed of seeing in one place. Where else can you see H.R. Giger hanging alongside the huge canvases of Eduard Anikonov, wander beneath the shadow of Brotherton‘s Mercury 5000 and hover over the several enhanced insects on display before getting lost in Halleux’s menagerie of characters! I even spied work by Kazuhiko Nakamura of Mechanical Mirage – one of my earliest mentions here on Coilhouse. The exhibit has a distinct zeitgeist feel, this much I tell you with complete certainty.

Sculpture by Stephane Halleux

After some time spent exploring I had the pleasure of chatting with Greg and Amy along with Nemo Gould and Stephane Halleux, whose work is approximately 98% more impressive in person. I also took tons of photos some of which are below the jump while the rest are being uploaded here, as time allows.

It will be interesting to see how a space like this does among galleries specializing in friendly still life, idyllic beach scenes and the like. Considering Saturday’s turnout, my prognosis is “just fine”. Fantastic Contraption is Device Gallery’s inaugural show and runs through September 2. Go now.

‘Aaliyah’ / The Fader

Via Wurzeltod – Russian-born, London-based artist Vania Zouravliov has recently been interviewed at the Gestalten blog. Click here to read the interview. To my knowledge, this is Zouravliov’s first-ever interview on the web.

Fate

In the interview, Zouravliov discusses the symbolism in his artwork (the women usually represent him, while the men represent peril and fear), his working process (usually one drawing, start to finish, with no preliminary sketches), his parents (yep, they Made Him Weird), his inspirations (including artists as diverse as Sally Mann, Igor Bilibin and Franz van Bayros) and more. Zouravliov’s first book, Vania, comes out this fall.

Zouravliov currently doesn’t have his own website (his art site, unclevaniart.com, has been down for about a year), but you can still see a large collections at Big Active. Some of my favorite Zouravliov images, after the cut.

Also: in the same post that announces the Zouravliov interview, Wurzeltod also points to a new interview with our dear friend Madeline von Foerster at Beinart. Check it out!

Poe 4

With the evening of the Fantastic Contraption reception approaching this weekend, it’s time to introduce another participant of this wondrous exhibit.

Two pieces from the Dark Peculiar Toys series

Viktor Koen is a Greek-born artist specializing in digital illustration. He’s a professor at Parsons in New York and has his work regularly published in Time, Newsweek, Esquire, Money and Forbes among others.

Two pieces from Koen’s Damsels in Armor series

The body of Viktor’s work is huge, but my favorite of his series remains Transmigrations.

“Transmigrations, Cases of Corporate Reincarnation” is 24 portraits of high executive title holders that return to life as insects. It’s a series that combines theories and research on social insects, traditional and contemporary corporate structures, job descriptions and reincarnation scriptures (more specifically the controversial teachings of Pythagoras on transmigration of souls). They personify symbols and weapons of their trades in a number of levels, some instantly visible and other hidden, avoiding the obvious and the expected.

Beyond the Kafka aspect of this project I love the actual shapes these creatures take on in their transformed states. Imagine these human-sized insects buzzing among the rest of us, brandishing their tools and being very, very busy.

A few more human insects beyond the jump.

If you can’t judge a magazine by its cover, it’s not doing its job. This month, major magazines work hard for the money:

1. Rolling Stone released a very iconic Barack Obama cover. Just him and his flag pin. No name, no slogan and no eye contact. Pure faith and devotion. Compare to their last Obama cover, which made him look like a wax dummy of a superhero.
2. Again Obama, this time as an illustrated character on the cover of The New Yorker, sporting his Al-Qaeda gear and giving his sidekick, Angela Davis Michelle, the fearsome terrorist fist jab. The best comment on the controversy surrounding this cover comes from Gawker: “this obvious and heavy-handed satire has enraged Democrats and liberal media critics because now they are pretty sure this nation of child-like imbeciles will believe it to be an un-retouched photograph from the FUTURE.”
3. Predictably, this cover of Psychology Today caught my eye. Some nice use of type, but guess what? She’s wearing the corset backwards. How could something like be allowed to happen in 2008?

See, we’ve been thinking about magazine covers a lot over the past few months. Deciding together as a group on the cover of Coilhouse Issue 1 was a very intensive process. That decision’s been made, but to help myself think about what makes for a good cover in the future, I’ve started compiling a personal list of favorite covers, which I now share with you. I’ve excluded the undisputed heavyweight champions (John Lennon and Yoko Ono, Andy Warhol in a Campbell’s Soup Can, etc.) from my list. It’s going to be a Top 9, with the first 3 being posted today as part of a series. Enjoy!

9. Russia! Magazine, Winter 2008

This cover of Russia! Magazine is sexy, sexy, sexy. It’s also a cheeky remix of a controversial banned photograph titled An Era of Mercy. Two of Russia’s top male models were employed for this shoot, with real spacesuits on loan from the Memorial Museum of Cosmonautics. The hip new Russian culture magazine also does a great job with its cover lines: Issue 2 has a bear dancing with Marilyn Monroe on the cover and entices you with the promise of “Eight More Bears Inside.”

Tesla’s got bedroom eyes.

Oh, my, yes! Happy belated birthday, dear Nikola. Your Coilhouse whelping day party continues with this booty-electrifying Musical Tesla Coil rendition of the Ghostbusters theme song, courtesy of Dr. Zeus. Nerd up.

Left: Ballerina. Right: Apollo and Daphne.

She died before I was ever born,  but she’s been with me all my life. Nadya Rusheva was only 17 when she succumbed to a brain hemorrhage in Moscow. She left behind ten thousand drawings – a fragile, incomplete catalogue of her teenage fascinations with Greek myths, Pushkin’s life, Bulgakov, Byron’s poems, War and Peace, and other bits and pieces from history and literature.

L: Pushkin and Goncherova. R: The Transfiguration of Margarita

She once said that she lived the lives of the people she drew. Her drawings are simple, impulsive – some might even say they’re amateurish – but there’s something to them,  a spark, a keen insight, a visible love. For example, when she illustrated The Master and Margarita (which Zo and I blogged about), it turned out that her drawings of Margarita bore an eerie resemblance to Bulgakov’s wife – whom Rusheva had never met.

L: Saying good-bye to Fox. R: Self-portrait.

She’s virtually unknown in the West –  not even a real Wikipedia page – but in Russia, she’s beloved by generations for her combination of tragedy, whimsy, youth and the adult-like insight that sometimes appeared in her work. Young fans still visit her museum and leave behind poems and drawings. On her Livejournal fan community, people swap scans of her drawings and write dedications. And a new film about her called “Secret Signs” recently came out in Russia.

Rusheva was born in 1952 in Mongolia to a Bolshoi theater designer and a ballerina (both of whom, I believe, are still alive today), and died in 1969. Some say that she was exploited to make the Soviet education system look good. I found two translations of the same document that claim that, upon being discovered, Rusheva was forced to produce artwork at a grueling pace so that the regime could hold her up as a paragon of Communist artistic training. One translation outright states that she was worked to death, but other (and better translation) doesn’t imply this. I’d never heard this before, even though I knew her work since childhood, thanks to my parents’ immense book collection. I could see it being true – despite the irony that Master and Margarita, one of her favorite books to illustrate, was banned when she drew it.

After the jump, my favorite Rusheva drawings (there’s lots!) and more.

Christopher Conte is a Norwegian artist and designer of prosthetic limbs. He studied in the States and his prowess in both art and science has led him to create some of my favorite biomechanical sculptures to date. One of the outstanding aspects of Christopher’s work is how functional it looks. This is the sort of technology I imagine wandering the face of uncharted planets or carrying out assorted tasks here on Earth. Clean lines, efficient design that looks straight off some futuristic lab’s assembly line and a keen understanding of mechanics sets Conte’s work apart. I can’t wait to see it up close at the show!

A bit about Christopher Conte from his website:

After earning a BFA from Pratt Institute, he entered the prosthetics field and began making artificial limbs for amputees in New York. Combining an abiding love for sculpture, medical science and biomechanics, the field enables Chris to apply his natural talents to help others in less fortunate situations, which he still does to this day. All along, creating sculpture never escaped his deepest passion. In 2007, Chris began offering these unique pieces for sale to the public for the first time.

As promised, a look at one of the Fantastic Contraption artists, Stephane Halleux. Stephane is a Belgian artist specializing in mixed media sculpture. There’s an outstanding amount of labor that goes into each of his almost cognizant creatures, from the beginning stages of acquiring found objects to sketch concepts to actual construction. Here’s more about what Stephane does, in his own words:

I like crazy mixtures, unlikely associations, advanced technology mixed with mechanisms of long ago. I’ve always been fascinated by robotics, its advantages and contradictions. The importance of robotisation and its increasing influence on mankind. Who never dreamt of owning a robot able to do the dirty work. But where are the bounds? How far is a robot useful to men and when does it begin endangering their life ? That’s what I want to make: caricatures of robots that have gone beyond the limits, all that with a fanciful vision of the future. The future we imagined some years ago: big computers full of cables with warning lights everywhere. That’s what I like: an old fashioned universe’s future.

A few more of my favorite images, beyond the jump.