Foulkes’ "Kaboom" presents us with a composite that is at once both nostalgic and tragic. We are moved to look back upon a time often remembered wistfully—and thus, paradoxically—as the "Atomic Age," while coming face-to-face with the reality that such an image could very well loom on our own horizon. In so doing, Foulkes brings to question the conception of nuclear fallout as a relic belonging to a bygone era. The Atomic Age might have passed, but threat of nuclear weapons has not.
"Most of my art stems from photo appropriation and the playful juxtaposition of found images. I came across a photo of an atomic bomb explosion, which is a horrifying image to ever look at. I felt that there was a softness, almost a fluffy silkiness in the pink clouds of the explosion, that in a different context, may look relaxing, inviting and beautiful. Thus the contrast in having Audrey Hepburn, smiling and looking at the viewer with a bewitching ease, reading a book and cozied in a warm bubble bath, that is in fact, a nuclear explosion and the complete antithesis of serenity. The nuclear family and Audrey Hepburn's glossy look was a distraction to the cold war era terror."
The first nuclear bomb was tested in 1945. After witnessing the test, J. Robert Oppenheimer said he was reminded of the words from the Bhagavad Gita: “Now I am become Death, the destroyer of worlds.” In this scene, Krishna is speaking to Arjuna. He has just shown Arjuna a vision of Truth. All of the people of the world, past and future, are falling helplessly into Krishna’s mouth. The mouth is on fire, and as large as the sky. There are thousands of teeth, and everything the people know crashes into the teeth and is completely destroyed. I have drawn a small number of people out of what would have been billions. When Arjuna sees this vision he falls on the ground and he tells Krishna that while this vision was intended to teach him something, it has taken all of his courage, and all of his peace.
Curtis Talwst Santiago is a Canadian-Trinidadian artist based in New York working in mixed media and performance practices. He is currently engaged in his ongoing and prolific infinity series of miniature dioramas in reclaimed ring boxes. An exploration across cultures and time periods, through these works Talwst aims to draw attention to absent or misinterpreted narratives, suggest the non-linear complexities of history, and explore relationships between cultures. Talwst is a former apprentice of Lawrence Paul Yuxweluptun and is currently attending the New York Studio School. He has exhibited internationally in solo and group shows.
''I love you so’’ tells the story of a needed love between a man and a weapon. A love worth thousands of lives.
The artwork is a remake of the iconing picture (V-J Day in Times Square, by Alfred Eisenstaedt 1945) showing the other face of war: indifference. Taking a closer look at the depersonalization of the individuals in today’s society. The piece’s sense can be summarized by Dr. Strangelove’s claim: "How I learned to stop worrying and love the bomb"
For the #MakeArtNotBombs project, I wanted to combine the sweet, optimistic tones of my work with imagery of death to create a discordant feeling within the viewer. I think that’s the goal of #MakeArtNotBombs—creating something artistic while keeping in mind something as deadly as nuclear bombs.
Matty Mo is an LA based young American artist and entrepreneur widely known as “The Most Famous Artist”. His work explores the Internet’s impact on modern humanity and its disruptive relationship with the traditional Art Market.
Like much of The Most Famous Artist’s work. “The Button” is made from a found canvas up-cycled into a work of post-contemporary art. The imagery of Reagan was appropriated from a 70’s era magazine cutout and pasted to the canvas. The juxtaposition of a classic American farm with the imagery of war-time rhetoric calls the viewer to question the place for Nuclear war in modern times.
The piece is called "Intelligence in the service of insanity." It's my understanding that the path this Earth ultimately takes is going to be a reflection of our decisions and core beliefs. As a whole, the route we're taking is closing us off from one another and thus making everyone fearful of their neighbor. We now have the ability to rid our selves of the very host that takes care of us. The image metaphorically and symbolically represents kind of a mass undertone that we have chosen over the course of many years and that undertone is the will and ability to consistently figure out how to harm ourselves in the service of protecting one delusion after another.
Victoria Siemer, also known as Witchoria, is a graphic designer based in Brooklyn, NY. She works predominantly in the digital realm, creating surreal photo manipulations that reflect her penchant for ennui, existential crisis, and heartbreak. Her work has been featured in a variety of digital publications including Wired, Juxtapoz, Huffington Post, Cosmopolitan, and Business Insider. She graduated from SUNY Buffalo with a BFA in Communication Design.
The paradox of naming a nuclear bomb "little boy" and killing thousands of innocent inhabitants with it. it's quite perverted and I wanted to shock the viewer by connecting this historical fact to a feeling of unsafety and shame for our leaders in the government and the military.
Title: Four Minute Warning Quilt
This quilt is based on Harold Edgerton's 1952 photograph: "Atomic Bomb Explosion". Taken just before the bomb mushroomed, its abstract shapes are hauntingly beautiful--like a kind of patchwork.
Allison Davis, Charlotte McCurdy, Erica Efstratoudakis
"Faceless" reflects the immoral imbalance in power and the dehumanization of the innocent brought on by a world with nuclear arms. As a complicit force, the presence of the audience triggers lights which destroy the human faces.