#exhibition

[itscolossal]

In Chicago, an Expansive Exhibition Offers a New Vision of Himalayan Art

[garadinervi]

Dorothea Rockburne, "D" Study for Scalar, (chipboard, crude oil, paper and nails), 1970 [Craig Starr Gallery, New York, NY. © Dorothea Rockburne / ARS, New York]

Exhibition: Dorothea Rockburne: Works 1967-1972, September 7 – October 20, 2012

[decemberwinter]

Bruised Bed by Maayan Sophia Weisstub

[dunmeshistash]

Ryoko Kui Exhibition & ''Delicious in Dungeon'' Exhibition

"Delicious in Dungeon" Artwork

Cover illustration draft, vol. 1

Since this was the first volume, I tried out a few different drawings and had the editor and designer choose which ones they wanted, then made small adjustments. I personally liked the top-down draft, and the one of the cooking processes (back cover) the best. But looking back, I sincerely think it's good that we didn't go with those. (Kui)

Cover illustration draft, vol. 2

The format was decided for volume 1. So, volume 2 came together quickly. (Kui)

Cover illustration draft, vol. 3

I thought it might be cool to make the character Chilchuck darker in the foreground, and the background brighter! But it didn't quite work out the way I had imagined. I think it could have been a bit better. (Kui)

Cover illustration draft, vol. 4

I remember that the overall shape of volume 4 came together very quickly. The character Senshi's hands didn't fit nicely, so I moved them backwards and to the side. (Kui)

Cover illustration draft, vol. 5

I thought people might start to think "how many have I bought?" so I wanted to create a slightly different impression with this volume. I decided to put the character right in the center and try putting it together all in blue and green hues. (Kui)

Cover illustration draft, vol. 6

With the Red Dragon defeated, have we reached the halfway point in the story? With this in mind, I thought of how many volumes were left to go, and the number of characters, and decided to pair up the characters Namari and Shuroiro. In hindsight, it would have been fine to have them on one cover each. (Kui)

Cover illustration draft, vol. 7

The image is of focus lines converging on the character Izutsumi. This is the kind of cover, with upside down characters, which I've always wanted to try once(?) I submitted it as a trial, thinking that at this point the cover wouldn't dramatically influence sales. However, in the end, we decided it would be better not to have it upside down. (Kui)

Cover illustration draft, vol. 8

I tried blurring the mushrooms in the foreground, then I accidentally saved over it, and couldn't go back to the original. I remember apologizing that it was probably tacky, when I submitted it. (Kui)

Cover illustration draft, vol. 9

I don't think snake meat is marbled at all, but if it has an unfamiliar look, people might not recognize it as meat… so I made it look like beef to make it easier to understand. (Kui)

Cover illustration draft, vol. 10

I thought it might be interesting to have more than one of the main characters on the cover again, so I added the character Falin. I remember it wasn't badly received, but it still ended up just being Thistle on his own. (Kui)

Cover illustration draft, vol. 11

I wanted this cover to be covered in shiny gold. After I finished it, it didn't have enough color, so I painted the tablecloth green, and it ended up looking like Christmas colors. (Kui)

Cover illustration draft, vol. 12

Up to this point, the covers have featured one of the main characters holding cooking utensils in the foreground and a monster in the background, but I thought it might be interesting to reverse the format just before the final volume, so I drew this cover with that in mind. (Kui)

Cover illustration draft, vol. 13

volume 13 was meant to be the final one, but it was too thick to be published as a single volume, so we decided to split it into two. The question of “so, what should I draw next!?" may be at the forefront of volume 13. (Kui)

Cover illustration draft, vol. 14

I had decided that the final cover definitely needed to have everyone eating together on it, but because I was publishing two books at the same time I was pressed for time, and it was difficult to have a cover with so many characters on it. I also submitted a rough for an illustration that didn't need me to draw any crowds, but such obviously easy ideas are never adopted. (Kui)

TV anime "Delicious in Dungeon"

About the ending illustration.

I drew these based on the director's instruction "This kinds of pictures." I hardly ever have the chance to draw color illustrations, so it was a valuable experience for me. (Kui)

[Kui's commentary is from the english pamphlet]

[arthistoryanimalia]

Sauce tureen shaped like an Asiatic dormouse

Made in Jingdezhen, China; about 1745

Spotted at the “Outside In: Nature-inspired Design at Winterthur” exhibition

[look-at-my-dresses]

Jean Paul Gaultier pour le Cinquième élément, Luc Besson

Exposition Fashion Big Bang au Palais Galiera, musée de la mode de la ville de Paris

[bizarreauhavre]

Philippe Rousseau, 1816-1887 - The rat who withdrew from the world

[midoriyamadadays]

猫の絵を何点か展示していただいています。詳細→info

[389]

Two masks of Richard David James AKA Aphex Twin at the opening of new exhibition "Electronic: From Kraftwerk to The Chemical Brothers" at The Design Museum on July 28, 2020 in London, England.

Photo by David M. Benett

[kelogsloops]

work in progress of this little kappa #brbchasingdreams

prints | tutorials

[garadinervi]

Harvey Quaytman: Hone, (invitation card), Van Doren Waxter, New York, NY, 2017 [Art Books & Ephemera. Art: © Harvey Quaytman]

Exhibition: February 22 – April 28, 2017

[marejadilla]

Keita Morimoto | 森本啓太, “Isolated Echoes”, 2023, oil painting. B. 1990 Osaka, Japan. Based in Tokyo and Toronto. "As we didn't know it" exhibition, November 11 - December 22 (2023)

[zegalba]

Mariko Mori: Dream Temple (2000)

[remash]

mirall | la llotja ~ juame plensa

[mrn0093]

THE DEVIL ---- ARCANA / exhibition ✦July 4 (Thu) - 16 (Tue), 2024 / Closed on Wednesdays ✦e2 studio Y.O., 5-9-8 Ueno, Taito-ku, Tokyo, 110-0005, Japan

[disease]

MARINA ABRAMOVIĆ THE ARTIST IS PRESENT @ MoMA | MAR 14 – MAY 31, 2010

Performed continuously throughout this exhibition for a total of over 700 hours.