Australian born photographer David Jo Bradley documents the human condition in his photographs. I am really digging his work. Here are some photographs from his 2010 project on Mali, Africa.
Penny Byrne transforms vintage porcelain figures and other found objects into work that makes a humorous or political statement. Though the themes of her work are dark and heavy, the lightness and treatment of the porcelain contrasts this, formulating a new perception of these themes. As a respected ceramic conservator and restorer, she claims that what she is doing with these “sacrosanct” found figures is quite inappropriate with respect to her field of work. Byrne lives and works in Melbourne, Australia.
Photojournalist Anthony Karen has a specific and refined talent. Karen’s website mentions that “his passion for photography began in Haiti, where he documented the various Vodou rituals and pilgrimages throughout the country.” Even with this first series Karen displayed a knack for capturing groups of people, specifically those marginalized from larger society. For his latest book White Power, Karen was granted rare access to photograph Ku Klux Klan groups freely. Rather than portray familiar dramatic images of hate, many of the photographs depict mundane daily life, yet are somehow all the more unsettling. Indeed, much of the series’ disconcerting undertones certainly springs from Karen’s ability to capture people with a certain candidness rare in front of a camera lens. [via]
David Rochkind’s Heavy Hand, Sunken Spirit is a project about Mexico’s new normalcy: day-to-day violence and corruption due to Mexico’s violent drug war since the rise of former Mexican President Felipe Calderon.
Since his time in office, the battle against the country’s drug cartels has become a priority, and in consequence more than 50,000 people have been killed and kidnapped
The cartels in Mexico are ruthless, meting out an awesome brutality where heads are rolled into crowded discos and dismembered bodies are abandoned on busy streets.
Rochkind images intend to “frame the violence as a symptom”, as opposed to the problem. He is interested in documenting Mexico’s present situations in an unfiltered manner; he says, “when documenting this conflict it is important not to reduce what is happening to a series of nearly anonymous images of carnage that could be happening anywhere.” His honest imagery is not just about violence, though. In nutshell, these photographs tell a story, a present of people whom find themselves in these horrid yet mundane situations. The photograph’s rawness intend to offer a snapshot of history, essentially a set of documents that can be referred to later on, in order to answer questions and redefine Mexican culture in the future.
I chose to work on this project because it represents how a grand, intense struggle can be transformed into quiet, daily dramas that are woven seamlessly into the lives of those involved. I am drawn to extreme crises that become internalized, even routine, to the communities that they touch.
This work was published as a monograph by Dewi Lewis Publishing in December 2012 and was honored by PDN, photo-eye and Professional Photographer Magazine, as book of the year. The project has also been exhibited internationally, including at the Museum of Contemporary Photography, the Southeast Museum of Photography, the Blue Sky Gallery and others. (via feature shoot)
Here at Beautiful/Decay, we don’t limit our features to art and design created by the human species. In large cities like Tokyo where there are few trees, birds may find it hard to come by nesting materials. Because of this lack, crafty crows have begun to use wire coat hangers to build their abodes, stealing them from nearby apartments. Crows’ nests are typically composed of interlocking twigs and some wire to create a sturdy structure for the birds’ eggs so it’s not hard to understand how hangers could be deemed appropriate materials by the crows. These wiry nests appear sculptural in their construction, their placements among tree branches marking a stark contrast between the natural and man-made. Crows are intelligent creatures and have been known to recognize human faces, bend wires into hooks in order reach food, crack open walnuts by dropping them from a height, and even memorize garbage truck schedules in order to track down food supplies. (via amusing planet)
Deke Smith makes fun illustrations!
If you stare long enough you just may see the explosion in the sky.
New York City native photographer Steve Schapiro documents what it means to be a hippie in 2015. Originally known for his photographs of and participation in the original Haight-Ashbury scene in San Francisco in the 1960s, Schapiro’s new aim is to explore where today’s hippie energy lays. From 2012 to 2014, Steve Schapiro, teaming with his son Theophilus Donoghue, traveled throughout the country following various “free-spirit movement” festivals such as Burning man in Nevada, Shasta festival and Rainbow Gathering in California, and others of the likes. Here what they found is that the “neo-hippie” generation “has more to do with meditation, yoga, fellowship, good vibes, and a search for the divine than it does with the mind-altering substances of its 60s predecessor.” Through images of mass nude meditation, men covered in mud in what looks like states of pure euphoria, group circles of shirtless people forming hand hearts with their neighbors, Schapiro sheds light into a community deeply rooted in finding their happiness through channels of love and nature.
This body of work can be found in his new book Bliss: Transformational Festivals & the Neo Hippie, published by powerHouse Books. The book’s press release states:
“In Bliss, Schapiro captures the multitudes who come to commune with nature, other like-minded souls, and all that is divine and inspirational in the multi-hued spectrum of human spirituality. He focuses on a subculture of the current hippie counterculture known as “Bliss Ninnies” — individuals who embrace meditation and dancing as a way to reach ecstatic states of joy. The book provides an overview of a new contemporary hippie life within America introduced to Schapiro by his son who began his own journey into Bliss at age 23.”