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Former detective Alexander Dick receives a grisly and taunting invitation from the serial murderer the media calls Rembrandt. Five years earlier, Alec had investigated a series of Rembrandt murders in Kansas City with devastating results to his career and family. Now, Rembrandt has tracked him down in Dallas and taken up his macabre art in the night-life haunts of the city. Through the course of the investigation, Alec is provided with unique allies: Jennifer Wilson, a psychic sometimes engaged by the police in missing persons cases, and Michael Bennett, the singer and lyricist for a local heavy metal band, Brothers Grim. As Rembrandt begins claiming victims--young women stripped nude and painted with their own blood--Alec, Jennifer, and Michael must work together to try to catch Rembrandt before he kills again, a venture that hurtles them towards an inevitable encounter and a stunning conclusion.
Bringing together 17 works from private and public collections across the globe, this will be the first museum exhibition of Saville?s work ever to be held in Scotland, and only her third in the UK. The selection spans 26 years, from iconic early paintings such as Propped (1992) and Trace (1993-4), to recent charcoal and pastel drawings, demonstrating how Saville?s approach to depicting the human body has shifted over the course of her career. Other highlights will include a series of large-scale head paintings, such as Rosetta II (2005-6), made while the artist was based in Italy, and the premier of a major new work, Aleppo (2017-18), which is at the Scottish National Gallery alongside historic works from the collection.00Exhibition: Scottish National Gallery of Art, Edinburgh, UK (24.03.-16.09.2018).
There is a world behind the canvas. Past the flat façade and the crackling paint is a realm where art lives, breathes, creates, and destroys. Claudia Miravista loves art but only sees what is on the surface-until the Dutch boy Pim appears in the painting in her room. Pim has been trapped in the world behind the canvas for centuries by a power-hungry witch, and he now believes that Claudia is his only hope for escape. Fueled by the help of an ancient artist and some microwaveable magic, Claudia enters the wondrous and terrifying world behind the canvas, intent on destroying the witch's most cherished possession and setting her new friend free. But in that world nothing is quite as it appears on the surface. Not even friendship.
After having observed the operations of reconstructive surgery and aesthetic surgery, acclaimed figurative painter Jenny Saville was eager to express the violence and anesthetized pain of this experience in her own work. She and fashion photographer Glenn Luchford thus began an artistic collaboration that captures the full range of color, tonality, and topography of live flesh, in large photographic tableaux that portray Saville's own body. Distortions confront and coerce the viewer into an examination of his or her own body and the grotesqueries and beauties inherent within; the images likewise recall biological specimens preserved, disembodied, and disfigured. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps none as intensely striking as this series.
Through an interview-based study, Victoria Pitts has researched the subcultural milieu of contemporary body modification, focusing on the ways sexuality, gender and ethnicity are being reconfigured through new body technologies - not only tattooing, but piercing, cyberpunk and such 'neotribal' practices as scarification. She interprets the stories of sixteen body modifiers (as well as some subcultural magazines and films) using the tools of feminist and queer theory. Pitts not only covers a hot topic but also situates it in a theoretical context.