Swedish photographer Pieter ten Hoopen has worked within all aspects of photography, from journalism to commercial. At this point in his career he is a well known and distinguished photographer: he has received many prestigious awards, amongst them the Photographer of the Year in Sweden, and the World Press Award; he has published books of photography on Tokyo and Stockholm, and is currently working on a film project about Hungry Horse, Montana, through MediaStorm.
Ten Hoopen shoots mainly on a Nikon but also uses Yashica box cameras and a Widelux. He has worked all over the world, and travels out of known safety to deliver raw and emotionally jarring footage from places far away, many in turmoil. In the past, he has worked in Pakistan, composing images from the aftermath of the 2005 earthquake, an intimate glimpse into the pain and hardship as families continued digging through rubble in search of buried survivors. He shot the small village Vladimirskoe, Russia, which, lying next to the mythically invisible town of Kitezh, occupies a strange grey area of being juxtaposed next to a national attraction while being invisible and struggling itself; problems with alcohol and unemployment make life difficult for most of its inhabitants. In Japan, ten Hoopen visited a forest that lies below Mount Fuji, known informally as the “suicide forest,” where, yearly, nearly a hundred people travel there to commit suicide. The forest is dense with vegetation and stands on the remains of a volcanic eruption, making compasses completely useless and getting lost in the woods very easy. People tie ropes to trees to prevent themselves from getting lost, and many go in there with the intention of never coming out.
There is a stillness in his images, the composition forms its own poetry, and the emotional charge of the situations he encounters stand squarely in the frame. Within the same vein of documentary photography as Sebastião Salgado, ten Hoopen brings an unprovoked sense of art to the frame; providing a visual means with which we can connect to these feelings as viewers, even halfway across the globe, even never having stepped out of our own country. That is the most powerful aspect of this kind of a photographer, he gives voice to what he witnesses, and brings forth the unexplainable beauty and devastation that words cannot do justice to.
Whether you’ve already had your morning coffee or not, here’s a mug full of satire from Mike Mak. The ear is made of silicone, so you can stretch and play with it. Yummy! If you ever wanted to channel the spirit of good old Vincent, now there is officially a way you can do that.
Fed up with the shame surrounding their periods, the Spanish performance collective Sangre Menstrual took over the public streets in sets of white pants stained with menstrual blood. This performance artwork was politically motivated; as the group writes in their “Manifesto for the Visibility of the Period,” the taboo surrounding menstruation serves to oppress women and reinforce patriarchal systems.
By making a public display of their shedding uterine linings, the group hopes to reclaim the female body and free normal bodily functions from shame and judgement. Since the earliest books of the bible and before, menstruation has been viewed as unclean, and often women have even been kept separate from men during their periods. Sangre Menstrual, whose name literally translates to “menstrual blood,” intends to change all that. In their manifesto, the group of women write, “I stain [my pants], and it doesn’t make me sick. I stain [my pants] and I don’t find it disgusting.”
The implications of Sangre Menstrual’s street performance extend beyond menstruation and into larger debates surrounding reproduction and the female body. Like the feminist artist Barbara Kruger and her legendary print “Your Body Is A Battlefield,” the blood-stained performance aims to present the body as a political act of defiance. The manifesto states, “the visibility of the period [is meant] to increase the visibility of the body, as political space.” Do patriarchal, sexist institutions persist in part because of the repulsion with which we treat menstruation? Is this work of art a groundbreaking innovation or a silly shock tactic? (via BUST)
Okay typography lovers, we got a juicy steak for you all in this post. Michiel Van Der Born has gone from A-Z in acrylic. When I stumbled upon this series, I found it refreshing to see this playful take on the good old alphabet. Bon Appetite.
We’re taking the day off to spend some much needed time with our friends and family and to give thanks for all great things that have taken place over the last year. We’re also thankful for all of you who support us each and everyday by subscribing to our book series, reading our blog, and taking part in our creative community. It’s going to be a great holiday season and we have lots of great projects ready to go to get you all inspired. So get off the computer (just for today), spend some time with the fam, and eat delicious food until you’re about to burst. Happy Thanksgiving ya’ll!
David Kettner of Philadelphia, has amassed an incredible array of work from over 50 years of art-making on his new website. The conclusion of his tenure as the head of both the Fine Arts and Drawing/Painting program at the University of the Arts has given birth to a cataloging of his life’s work. In reference to his recent work, he provides a concise objective:
“The priority… is to secure a paradoxical and maybe enigmatic alliance between the world of the child and the world of the adult.”
These transcendentally intergalactic images are like cryptic icons from the future. I’m pretty sure this is what it would look like if an alien landed on earth and created a transmission from his ship that beamed down a chronological history of time cascading into future mankind straight into your dreams.
Mathieu Lefevre’s multidisciplinary practice, encompassing sculpture, painting, and photography use humor, irony and cynicism to test the fragility and the flexibility of the mediums he employs in his work.By seeking to rearrange and disrupt the relationships between viewer, creator, commodity and context his work raise questions as to what art can be, what it is worth and what is its role in a cultural and commercial framework.