AEFERG Illustration

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The art blog of Portland-based illustrator Anne Ferguson.

www.aeferg.com

November 7, 2013 at 2:32pm
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One of my thesis works is featured in this show, up at PNCA for the next two weeks! Wish I could go to the First Thursday opening tonight, but thrilled to be featured alongside some of my fabulous former classmates.

One of my thesis works is featured in this show, up at PNCA for the next two weeks! Wish I could go to the First Thursday opening tonight, but thrilled to be featured alongside some of my fabulous former classmates.

August 17, 2013 at 12:45pm
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Reblogged from elmdor

(Source: elmdor, via imaelectrogirl)

August 9, 2013 at 1:12pm
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Reblogged from deadcitiesredseasandlostghosts

(Source: deadcitiesredseasandlostghosts, via unfuckthereallife)

July 20, 2013 at 2:20pm
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Reblogged from fuckyeahvintageillustration
fuckyeahvintageillustration:

Cover illustration by Robert Engels for ‘Jugend’ magazine, nr. 44, 1896.
Source

fuckyeahvintageillustration:

Cover illustration by Robert Engels for ‘Jugend’ magazine, nr. 44, 1896.

Source

(via trilltrillian)

July 17, 2013 at 12:04pm
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Reblogged from nineinchnails

nineinchnails:

Each version of Hesitation Marks will have its own unique cover with artwork by Russell Mills. Pictured above:

Digital cover: “Turn And Burn” (Plaster, earth, oils, acrylics, etching varnish, bitumen, burning, rusted linen, blood, spent matches, on wood)

Deluxe CD cover: “Cargo In The Blood” (Burning, Polaroid frame, copper wire, mica, on velvet, on wood)

Standard CD cover: “Time And Again” (Plaster, earth, oils, acrylics, etching varnish, rusted linen, blood, microscope slides, on wood)

Vinyl cover: “Other  Murmurs” (Plaster, earth, oils, acrylics, etching varnish, collage, on canvas, on wood)

Some words from Russell about the artwork created for the album:

The artworks, (30 mixed media pieces) that I eventually produced towards uses in the Hesitation Marks releases, evolved out of lengthy exchanges between myself and Trent and in response to the conceptual ideas that thread through the tracks and to the sonic territory that the album explores. I’ve tried to lock into the album’s prevailing mood and echo the album’s essence. The ideas are not communicated in a literal or easily digested form, as this would be boring for me and would insult the intelligence of a potential audience. I’ve tried to make works that obliquely allude to the essence of the subject matter, to its emotional core. 
As with my self-initiated works - the paintings, assemblages, collages and multimedia installations - personal ideas and obsessions seep into these works. The organic, the natural, prevailing over or feeding into the industrial, the man made, is a common theme in my work generally and in this instance was particularly apt for the art required.
The works explore ideas of catharsis, of being into dissolution into being, both on a personal and sociological level. They allude to ideas about chaos and order. They deal with ways of suggesting presence in absence. They are a cross between the forensic and a pathology of the personal in which only fragments remain, in which minimal clues can suggest events that may have occurred. They attempt to harness the chaos of a situation, of now, of the personal trauma, of the human condition, into a form that is coherent, a form that accommodates the mess without disguising it as something else. It attempts to capture the essence of these ideas by implication and exclusion. Beneath the form lies the uncertainty and ceaseless flux of the mess, of the chaos.    
An amalgam of the contextually-anchored and the process-driven, they are hopefully powerful, arresting, seductive, suggestive and resonant. I hope that they will invite multiple readings.

Hesitation Marks is out September 3rd. Pre-order now direct from nin.com or from iTunes.

11:47am
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We’re Getting a Calvin and Hobbes Documentary →

Definitely a must-see for me!

July 6, 2013 at 7:17pm
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Reblogged from artforadults

artforadults:

fashion artworks by Antonio Lopez (February 11, 1943 – March 17, 1987)

via 

(via trilltrillian)

July 3, 2013 at 4:37am
2,044 notes
Reblogged from fuckyeahillustrativeart
fuckyeahillustrativeart:

Suspension
Kate O’Hara
Tumblr: http://knockout9.tumblr.com
Society6: http://society6.com/kateoharaillustration

fuckyeahillustrativeart:

Suspension

Kate O’Hara

Tumblr: http://knockout9.tumblr.com

Society6: http://society6.com/kateoharaillustration

(via gstrnat)

June 29, 2013 at 12:12am
23,119 notes
Reblogged from fer1972

chirart:

fer1972:

Three Versions of Judith Beheading Holofernes:

Caravaggio (1571-1610)

Valentine de Boulogne (1591-1632)

Artemisa Genitileschi (1593-1653)

One of my favorite classes I ever took was my Feminist Art History class, and we covered Artemisia Gentileschi quite a bit — specifically, her Judith Beheading paintings in contrast to other artists, especially Caravaggio. It’s a perfect example of a male perspective vs a female perspective.

While Judith in Caravaggio’s and Boulogne’s paintings are prim, clean, slender, and beautiful within the gory act they are committing (indeed, Caravaggio’s Judith seems about as uncomfortable by the act as a lady mewling over a broken nail), Artemisia has her Judith as heavy-set, with thick arms and a thick frame, and a far more forceful participator in the act.

Additionally, the handmaiden in the first two examples are both old, feeble women who are not meant to be focused on — they hang back in the darkness, waiting or fretting over Judith. On the left side is a man in the throws of dying, and on the right is a woman of elderly age, both undesirable people/outcomes. The ugliness frames and further highlights Judith’s beauty. However, in Artemisia’s rendition, the servant is not only much younger, but she’s an active accomplice in the grisly act.

Finally, Holofernes in both Caravaggio’s and Boulogne’s renditions is simply lying back and allowing his head to be cut off: his hands remain at his side, and his blood seems to avoid the ladies to the right. In Artemesia’s depiction, he’s actively defending himself, blood is spilling absolutely everywhere and on his attackers — the very female aggressors he is trying to forcefully shove away, yet still being overpowered and defeated.

To put it simply, the contrast between Artemisia’s painting and the other two examples here (and the many many many other Judith renditions throughout art history) is the act of beheading Holofernes is the center focus, not Judith herself. It’s a clear example of agency, and what it means to be a subject that is passively looked on while meekly reacting to a situation vs a subject that is empowered and in full control of the act she is committing.

June 28, 2013 at 1:08pm
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Last night I attended a screening of the gig poster documentary ‘Just Like Being There’, directed by Scout Shannon and featuring the work of many fabulous illustrators and designers. The film was preceded by an exhibition (my crappy phone pictures don’t nearly do the gorgeous work justice) and followed up by a Q&A session with Shannon and the featured artists. A great film, and a very enlightening and inspiring night!

(Super special thanks to the lovely Kristin Rogers Brown for the tickets!)