Are you afraid of heights like me? Even if you are, I am sure you can handle this edgy interactive art piece designed by the illusionary artist Leandro Erlich quite well. When I looked at this mind-bending piece titled Bâtiment closely, I didn’t get the shivers as I got them the first time I saw it.

And you know what else? Erlich’s work has taught me to look beyond my first impression. Sometimes I might think someone is not “hanging in there,” when, in fact, he can be pretty comfortable doing what he does.

Two Men Asleep at the Table, While One Broods about Evil (Deeds). 1914.

Outsider art moves me. I experience my encounters with it as the passing (or trespassing) through a hidden door into a secret garden where strangely beautiful but intensely private vistas open before me. It’s a little like Alice down the rabbit hole, I suppose, but my sense of wonder is mixed with an equal sense of pain for the artists’ lost or broken human connections. Often reclusive, isolated, or even institutionalized, they typically have a manic need to express something to a world in which they are marginalized participants at best.

For some time my 3 favorite outsider artists have been the American janitor Henry Darger (1892-1973), the French housekeeper Séraphine Louis (1864-1942, aka Séraphine de Senlis), and the Mexican rancher Martín Ramírez (1895-1963) who spent most of his adult life confined in mental hospitals in California.

Thanks to Galerie St. Etienne (24 West 57th Street, New York), I now add to my short list of favorites a fourth: the Austrian porcelain painter Josef Karl Rädler (1844-1917). Eleven watercolors by Rädler are on display at Galerie St. Etienne as part of their excellent exhibition titled The Ins and Outs of Self-Taught Art: Reflections on a Shifting Field. Running through April 7, 2012, it also includes works by Ilija Bosilj-Basicevic, Henry Darger, John Kane, Grandma Moses, and Michel Nedjar.

Two Men and Three Owls Beneath the Night Sky. 1916.

The following biographical details on Rädler are courtesy of Galerie St. Etienne. Rädler was institutionalized for the last 24 years of his life. In 1893 his family reluctantly had him committed to a Viennese asylum at Pilgerhain after his profound mood swings, which had begun in his late 40s, led to disastrous business deals and debts. Twelve years later, in 1905, he was transferred to a sanatorium in Mauer-Öhling in Lower Austria, west of Vienna, where he spent the rest of his life. He was diagnosed with “secondary dementia,” similar to what we now call schizophrenia. Rädler referred to himself as the “Laughing Philosopher” and wrote lengthy discourses on such issues as world peace, racial harmony, and gender equality. His mood could be nasty and belligerent, and when not writing he often harangued fellow patients with his lengthy philosophical discourses.

Noble Josef Kötlinger/The Good Lord is his motto: in the morning blithe and happy, throughout the day never spiteful, or grumpy, saw the light of day on on 4th May 1869 Vienna, Psycho Palace/Asylum.

For more than 50 years after Rädler’s death in 1917, his paintings remained virtually unknown outside the asylums at Pilgerhain and Mauer-Öhling—and were almost lost forever. In the 1960s, however, the husband of one of the nurses found approximately 400 of Rädler’s watercolors on the trash heap at Mauer-Öhling, and in 1972, this nurse took them to Leo Navratil, the Austrian psychiatrist who had formed the artists’ group at the Gugging Mental Hospital. Navratil acquired about 100 of the watercolors and later donated them to the Niederösterreichisches Landesmuseum, where they were exhibited in 1994. The remainder of Rädler’s drawings was preserved by one of the doctors at Mauer-Öhling, whose estate is now selling them.

What the Bootblack and Dishwasher Think of All This. 1914.

What moves me about Rädler’s paintings is their graphic directness. His portraits seem to crowd into the foreground of his canvasses, sometimes even violating his elaborate border design. They peer back at the viewer, at close range, as if through a shared window. Are they the observers, or the observed, or both? It makes me wonder, it makes me suffer: is that shifting double perspective the heart of Rädler’s own experience as an “outsider,” as an artist who is also a mental patient, as a visionary who sees beyond the narrow limits of his own confinement?

Man, Do You Want to Educate Yourself? Think Up a New Slogan Every Morning (self-portrait). 1917.

Talk about shedding a whole new ‘light’ on snowboarding. We have all seen the ski and snowboard movies from the likes of Matchstick Productions, Teton Gravity Research, and the classic Warren Miller films for example, depicting riders pushing the limits in terms of speed, agility, skill, and acrobatic feats.

In this video by Nowness we see a new kind of style, a new aesthetic – one that portrays snowboarding in an artistic element, where each still of the film could be a spectacular graphic photograph.

With the snowboarder covered in an LED lightsuit, the focus shifts from technical ability to a dreamlike play of light and dark, of movement; a new aesthetic of snowboarding that captures a new kind of graphic element and beauty within the world of winter sports.

Dark and tender.

I find learning through observation fun. It’s almost exciting to think that any artwork might take a different form, and detach what I thought might have been revealed to me upon my first glimpse. This is what this weekend’s column is about: an artist that I at first thought was just okay, but nothing out of the ordinary. Then slowly, one gaze after the other, I learned to love and be thrilled about, in expectation of more of his refreshing and unique work.

An almost 3-dimensional feel

So what makes Jonas Löfgren’s work design? A brief look at his portfolio is likely to bring about a very intriguing answer to a somewhat irritating question. It’s true that he is an artist, if anything. A loophole I have recently found in the frail distinction between art and design is that well composed art shares some affinity with the dominant, pragmatic side of design. To the contrary, some might question Löfgren’s use of (mostly) graphite and watercolor in his work. That is, however, a rather fruitful use of media a lot of us got to experiment with (and personally resent).

Lula Magazine in collaboration with the artist.

Löfgren’s work has been featured in Lula, and blended in quite perfectly with the general vibe of the magazine. His work has some darkness to it that I admire; some might even refer to it as gothic or morbid—remarks that I am also likely to embrace. There certainly is something a bit intimidating about black and white art, but for now I willingly let myself be evoked by it. Visit his site here.

And yes, we have some Mary Kate for you

Latin Grammy award winner (and one of Alfalfa Studio favorite world music recording artists) Lila Downs, will be giving a free concert today at El Museo del Barrio in New York City. The concert is part of Carnegie Hall’s Neighborhood Concert Series.

The Mexican singer will be performing material from her new CD release, Pecados y Milagros (Sins and Miracles). Her latest album is an exploration of faith in light of modern events, both tragic and inspirational. The album design itself speaks of Lila’s attitude towards her music creations. Fifteen renowned Mexican contemporary visual artists have joined Lila in this project and each has created a work of art to accompany each song on the CD. The final package design was completed by renown Mexican design Alejandro Magallanes (also known as the Stefan Sagmeister of Mexico). These images have been integrated into a video projection, which will be part of the concert performance.

If you have not heard Lila, she is an artist worth checking. As a spectator, I’ve seen her evolution and growth as each album brings something new. Her constant re-invention of traditional Mexican music and original compositions fused with blues, jazz, soul, African root, and even klezmer music is something I look forward to.

From the artist’s site:
Her musical vision is anthropological in nature and as varied as the ancient and earthy cultures that continue to nurture and inspire her. Embracing and highlighting indigenous origins, whether in the U.S. or Mexico, has always been an important aspect of her music, as well as the topics of political and social justice, immigration, and transformation, all rooted in the human condition. She strives to make a meaningful connection with her diverse audiences through her music and performances. “I’m so lucky,” remarks Downs. “People who follow our music are from all walks of life, and they want to scratch the surface to know the whys and hows. Every day we get to connect in so many ways.”

Last November I saw the talented singer at the Auditorio La Guelaguetza in beautiful Oaxaca City. She filled every seat in a concert to remember. I purchased her Pecados y Milagros album there and have not stopped listening to it ever since!

If you are in New York City, I highly recommend it.

Saturday, February 18, 2012
4:00 pm – 5:00 pm
El Teatro
Admission: Free

my sweet prince - snow white

too fast - cinderella

What would happen if Cinderella had fallen while running down the staircase after midnight? What if, while walking along a Danish beach, one finds the little mermaid washed ashore? Paris-based photographer Thomas Czarnecki asked himself the same questions. The result? A dark photographic series titled “From Enchantment to Down”

The somehow sinister images offer an alternative ending to the famous fairy tales. Disturbing and alluring, our folk heroines’ “Happily ever after” takes an unexpected twist in this well executed series.

on the other shore - the little mermaid

The project has caused a bit of controversy. Some have called it “nice junior art class project,” or “lacking depth in story” while others have said “amazing and beautiful.” What is your opinion?

just a trap - alice

one last wish - jasmine

All images © Thomas Czarnecki

In light of what is said above, it should come as no surprise that love doesn’t quite cut it when it comes to logo design, either. Let’s admit it: while love is great and we all love to love and spread our love and let love prevail and so forth, to many of us jaded souls, the concept of love we all grew to understand is a bit redundant and gooey. In love life and logo design alike, I wish we would opt for the clean, simple, and to-the-point. I also wish the examples of graphic design featured below had done the same.

Hearts in logo design, so I have been told since day one, are a no-no. Sometimes, and only in some instances, it’s important to use a heart shape to get a point across. If possible, however, graphic hearts should be generally avoided (and I’m really tempted to add at any cost). Heart as a shape, to put it bluntly, is a little outdated and much overused. Let’s assess some of the more common heart logos out there.

When I talk about exceptions in reference to the use of hearts for logo design, this is one of them. Alongside innovative packaging, the POM Wonderful logo really gives people like me hope that, one day, people would be able to fully take advantage of the heart shape and use it as successfully.

POM truly is Wonderful

I get it. It’s the American HEART Association. Fair enough. Fun fact about this logo: it looks a lot better when you look really closely. Don’t believe me? Test it yourself!

Not what it seems. American Heart Association

I guess that since this is a dating site logo, it is somewhat appropriate. My only problem with this one, apart from the ones mentioned above, is how plain this logo is. While the idea is pretty nice, this logo could benefit from a better execution.

Meh. JDate

The typeface used for this logo is American Typewriter. I’m emphasizing this because if this weren’t the I Love NY Logo, I would have dismissed it almost on the spot. Designed by Milton Glaser, this logo has so much history and timeless grace to it.

An oldie and exceptional. I Love NY

Our friends at Logo Design Love reviewed this logo, made for the capital of Northern Ireland, about 3 years ago. It is as if the prone-to-dismissal heart shape is camouflaged to make believe that it isn’t what it is. Good.

Sets an example. Belfast

This is more of a tribute to the late 1950’s show. Not much to say; graphic design was still up and coming around that period. The quotation marks are a bit banal, but nothing I have to say could ever make anyone who is an avid Lucy fan like it less.

Who doesn't? I Love Lucy

The French sounding Japanese luxury brand has a strange, a tad scary look. I find it bizarre and intriguing, unlike other heart logos I see. This logo definitely makes me want to know more about the brand. Just to clarify: I wouldn’t call this logo pretty, let alone perfect, but it is definitely interesting.

Weird and we like it. Comme Des Garcons

Happy Valentines Day y’all!

Quite a wave.

Okay guys, I have got to face my demons: I spend way too much time on Tumblr, researching. It would be, however, more honest of me to admit that I’m there simply because… well, I love it. Tumblr is such a great source of inspiration. Every so often, I hear about individuals who use Tumblr as their springboard. Others simply thrive there, but remain nothing more than Tumblr personas (which is totally phenomenal on its own). This week I’ll be writing about Matt Wisniewski; an artist I came across on the aforementioned site (from here on, I’m going to try not to call a spade a spade). I guess I am a bit shallow in that sense; with the exception of a few select websites and blogs, I almost never read things online; there is simply too much to look at. You can’t blame me– that is (sort of) my job. What I deem so unique about Wisniewski’s work is that, to begin with, it blew me away the second I saw it. I know that, being graphic designers, we are almost offended when we see a piece that we can’t quite understand how to make ourselves. Moreover, apart from the “how the hell did he do that?” reaction, I wonder, more importantly, how one conceives of such a snazzy idea.

As if human features amplify the beauty

Images and text are a winning combination. It is, after all, an accepted pairing, and it is sure to provide satisfying results when done properly. Matt Wisniewski, however, pushes the envelope with almost each of his compositions. They contain no text; only images comprising more and more images, and usually interesting ones. In a world where Photoshop often has a shuddering effect, only few are able to take advantage of that overused and ever-so-controversial tool to create something beautiful and attention worthy. Those amazing photo collages are so mesmerizing; I can’t help but scrutinize them the way I do the subway map on busy weekends.

While Matt Wisniewski sometimes uses themes (nature seems to be a pattern), the true grace of his work is in the harmony it conveys. It is the kind harmony that many of us, creative individuals of all fields, would die in the name of.

View them and weep in excitement and envy, my friends.

Abstraction prevails his work

Sometimes nature sheds light on another, less obvious nature

Modern collage.

Some people say that true beauty is on the inside. If you take a look at Lisa Nilsson‘s work, I think we all have to admit it’s true. This amazingly patient, Massachusetts-born artist, must definitely have a very steady hand as well as a great eye for detail when creating these sculptures. Don’t you just love how all the different elements fit perfectly together and yet, due to the well-selected colors, she manages to perfectly fit each individual piece on their own?

Lisa Nilsson: ”I love how we are so symmetrical on the outside and how everything looks so asymmetrical in cross section. Everything inside just fits so perfectly.”

I kind of agree with Lisa! Don’t you?

Face à Face (Self Portrait)

The results of light painting can be pretty beautiful. Turn that into calligraphy, and you have a mesmerizing image of words written in space.

Self-taught calligrapher Julien Breton, aka Kaalam, lights up spaces with Latin-based alphabets that are written out in Arabic forms. The process ends up being more than just drawing. He combines it with music, dance and performance to create the ‘Lightgraff’. And it sure looks magical.

The many minutes of waving a light in a dim to dark space make sense after viewing the long exposure capture of Julien’s mastery. Tempted to try your own light writing experiment, aren’t you?

Check out some of his recent work on the streets of New York. You can also view one of his performances in this video.

All images © Julien Breton