Lindsay Bottos, a student at the Maryland Institute College of Art, has created “Anonymous,” a series of webcam selfies overlain with anonymous messages she’s received via her Tumblr page. The messages Bottos uses criticize her appearance, body-shaming and slut-shaming the selfies she’s posted to her Tumblr page. “I get tons of anonymous messages like this every day and while this isn’t unique to women, the content of the messages and the frequency in which I get them are definitely related to my gender. I almost exclusively get them after I post selfies. The authority people feel they have to share their opinion on my appearance is something myself and many other girls online deal with daily.”
The timing of Bottos’ project coincides with a recent article published by Pacific Standard that makes the case for online harassment, especially of women, as the next issue facing women’s civil rights. Even through a medium like the internet, a platform perceived as a level playing field of expression, women receive a disproportionate amount of threats and abuse related to their gender and appearance. Bottos asserts, “The act of women taking selfies is inherently feminist, especially in a society that tries so hard to tell women that our bodies are projects to be worked on and a society that profits off of the insecurities that it perpetuates. Selfies are like a ‘fuck you’ to all of that, they declare that ‘hey I look awesome today and I want to share that with everyone’ and that’s pretty revolutionary.”
Bottos’ other projects also heavily feature text, written or embroidered, onto various surfaces. For “Get Over It,” Bottos embroidered thoughts about her sexual assault onto a tear- and mascara-stained pillowcase; for “The Morning After,” she wrote thoughts in permanent marker in places touched by a hook-up; and for “I Don’t Really Miss You,” Bottos embroidered thoughts about a relationship onto images, clothing, and mementos. Whichever medium she uses, Bottos conveys her vulnerability though language and form, rendering an honest and engaging perspective. (via buzzfeed)
Photographer Randy Taylor had around 40 years of work archived in a storage facility that he wasn’t allowed access to until weeks after Hurricane Sandy hit. He was aware of the possibility that his work might be damaged, but wasn’t prepared for what he encountered when he arrived at the storage unit. “I descended into the smelly, wet, and dark bowels of the powerless building, which had flooded floor-to-ceiling with contaminated water,” Taylor said via email. “What I found was a jumbled, gooey mess of papers and things 3 to 8 feet high. It took the first day to carve out a vertical space just 2 feet into the unit, so I could merely walk in the door.”
Taylor tried to salvage as much as he could, but the damage and mold was so intense, that he was only able to recoup a few dozen images out of around 30,000 he had in storage. The photographs he selected weren’t based on any method; he just wanted to save as many as possible. After he selected his photographs, he dipped them in an alcohol solution to clean off the mold and stave off further destruction, though the damage has already been done, and will likely worsen with time.
Despite the sad loss of professional and family photographs, photography equipment, computers, and financial records, Taylor is heartened by the attention his Hurricane Sandy photographs are now receiving.” It’s been satisfying to have my images noticed again. Thanks to Sandy, they are truly unique.” ( via juxtapoz and slate)
Caleb Charland (previously featured here and here) newest photography project features mesmerizing light displays using mostly fruit, a nail, copper wire, and the long exposure technique. These organic batteries produce enough of a current for Charland to capture the light’s illumination in these long exposure photographs.
“My current body of work, Back to Light, expands upon a classic grade school science project, the potato battery. By inserting a galvanized nail into one side of a potato and a copper wire in the other side a small electrical current is generated. The utter simplicity of this electrical phenomenon is endlessly fascinating for me. Many people have had the experience of drawing power from fruit in the classroom, and it never ceases to bring a smile to the face or a thought to the mind. This work speaks to a common curiosity we all have for how the world works as well as a global concern for the future of earth’s energy sources…my hope is that these photographs function as micro utopias by suggesting and illustrating the endless possibilities of alternative and sustainable energy production. The cycle that begins with the light of our closest star implanting organic materials with nutrients and energy, is re-routed in these images, Back to Light, illuminating earth once again.” (via this isn’t happiness)
Self-taught photographer Zeren Badar explores photography, painting, design, and collage work in his “Accident Series” project. For this project, Badar combines images and objects in a curious juxtaposition of form and content. His incorporation of prints of old paintings, food, accessories, decorations, and other objects results in peculiar and richly textured 3D collages that evoke a Dadaist aesthetic. Badar compares his work to Duchamp’s readymades, explaining, “By using unexpected juxtapositions of objects, I try to create ambiguity and pull viewers attention deeper to my photographs.In many ways, I examine new type of way still life.” Originally from Turkey, Badar now lives and works in New York City. You can keep up with this project’s progress by following his personal Tumblr page.
Environmental and seasonal artist Nicole Dextras is no stranger to using ice as a medium. For her series, “Iceshifts,” Dextras combines ice and clothing to create deconstructed wardrobes frozen in time, then photographs them up close and within natural settings. Often, the clothing has been frozen over several winters, creating layers and layers of ice. When Dextras composes her photography, she positions the blocks of ice to effect beautiful light refractions, giving the work a haunting and ethereal glow. The clothing appear to be specimens, ready to be excavated and studied. Sometimes, Dextras will include plants or leaves when creating her pieces; she’s even used stockings for arms and bras as wings to illustrate the many layers of the self .
Dextras explains, “This frozen wardrobe acts as a metaphor for the multilayered affinities between the self and the environment. On a deeper level, the mercurial aspect of ice alludes to the transient nature of the environment and of the inherent poetic beauty of the ephemeral.” (via my modern met)
Haunting and provocative, “Ghosts” South African artist Ralph Ziman’s recent photography exhibition addresses the international arms trade. The series features 200 beaded gun and ammunition sculptures created by 6 Zimbabwean artisans who were commissioned by Ziman. The sculptures are made from traditional African beads and wire and are replicas of AK-47s and general purpose machine guns (GPMGs). The artists are also the subjects of Ziman’s photographs, alongside some construction workers, and a member of the South African Police Services who just wanted his picture taken. The idea for the project began as a series of murals in Venice that were a response to the international arms trade and Africa. The result is a powerful representation of the intimate relationship between Africa and arms trading.
“In bringing his exhibit to the US, ‘the world’s biggest arms exporter,’ Ziman goes some way to redirecting the one directional flow of the arms trade, inviting viewers to consider the original source of the guns on display.” “Ghosts” features the gun sculptures, installations, and photographs, and is on display from February 8 through March 2 at C.A.V.E. Gallery in Los Angeles. (via hi fructose and okay africa)
Cornelia Hediger‘s series of “Doppelgänger” portraits portray contrasting aspects of her self, creating suspenseful and awkward narratives. For this series, Hediger shoots single images in the same environment and composes them in a grid. Her style of composition allows for the distortion of sizes in both space and body; the grids she uses to configure these distortions also break up her images, further reflecting the presented fractured sense of self. Hediger prefers to work alone as an artist because of the time and patience it takes to design her set and capture all of the images in just the right positions.
Of her series, Hediger says, “I was interested in exploring the concept of the Doppelgänger in a broader way. Doppelgänger in German means ‘double walker’, it is a ghostly double of a living person, an omen of death and a harbinger of bad luck. The idea of the Doppelgänger also allows me look the alter ego, the conscious mind vs the unconscious mind, inner conflicts, the duality between good and evil and split personalities – the concept gives me plenty of material to think about and work with.” (via this isn’t happiness and feature shoot)
Greek artist Teodosio Sectio Aurea builds amazingly detailed sculptures that cast unassuming shadows. Aurea constructs his work out of metal and wire, bending and shaping them until they are able to cast the perfect shadow. The shadow images he casts range from human figures to recognizable art like da Vinci’s “The Vitruvian Man,” Picasso’s “Guernica,” and Michelangelo’s “The Creation of Adam.” Aurea’s talent lies in his ability to play with light and shadow, to and conceive of a multi-dimensional artwork. The metal sculptures stand alone as captivating artwork, and Aurea’s conception demonstrates multi-faceted beauty that resides within a single object. (via my modern met)