Jamie McCartney is a multi-disciplinary artist who specializes in sculpture. For “The Great Wall of Vagina,” McCartney casted the vaginas of 400 women, ranging in age from 18-76 years. Casts of mothers, daughters, twins, trans men and women, pre- and post-natal women, and a woman’s pre- and post-labiaplasty are all featured in this large piece. “In creating this work, I set out to alleviate the needless anxiety that is driving so many women to contemplate cosmetic genital surgery.” “The Great Wall of Vagina” book is for sale and features testimonies of over 100 women who took part in the piece. The piece even has an entire site dedicated to it, featuring images and videos and other information about the project.
For “The Spice of Life,” McCartney casted the genitals of flaccid and erect penises, vulvas with closed and open legs,and breasts of a variety of people. “4×4” depicts a panel of 16 erect penises. McCartney claims that many people have engaged with his work in positive ways, noting the variety and lack of “normality” across the spectrum of featured genitals. People often use pornography to gauge normalcy of their genitals, even though these representations are skewed or exaggerated.
McCartney’s pieces, “Old Glory” and “O Limp Pricks,” feature casts of the tip of the artist’s penis. For “Internal Affairs,” McCartney casted the inside of vaginas, transforming the vagina into an external, almost phallic organ.
In all of these pieces, McCartney seeks to satisfy our curiosity and asks us to engage with the relationship we have with our own bodies.
In these provocative photographs by Rankin, you will find naked celebrities and fashion models getting cozy with some slimy fish carcasses, straddling shiny scales and smearing inky octopuses over their bare breasts. As part of the Fishlove campaign, this shocking imagery hopes to draw attention to a crucial environmental and political issue: if we continue to use today’s fishing methods, marine life across the globe will collapse within a single generation, causing irreversible damage to countless ecosystems and human life.
Fishlove, a non-profit organization founded by the actress Greta Scacchi and Japanese restaurant MOSHIMO co-founder Nicholas Röhl in 1992. The community interest company recruits photographers, models, and entertainers to join the effort towards sustainable fishing. The marine life pictured here is commercially bought and sold; many of these species are heavily threatened by over-fishing. Fishlove treads an ethical gray area by using these fish as models, but not one was killed for the purpose of the shoot. To avoid waste, the organization makes efforts to consume the fish after they are photographed.
It’s said that sex sells, and Fishlove relies upon this hope. In their unusual nude portraits, models and entertainers appear like strange mermaids or selkies, washed ashore with their marine lovers. Sir Ben Kingsley cradles a fallen octopus who settles into his palm, and a model arches her back, mirroring the fins of the creature she rides. Though startling, the work serves to remind us of our interconnectedness with underwater creatures and our reliance upon the planet’s oceans. If we continue down the path we’re on, all of these beautiful creatures will cease to exist. To get involved, visit Fishlove. (via Agonistica)
Ave Rose is a writer and artist whose love for the beautifully macabre has manifested itself into a collection of undead, baroque-styled robotic dolls. Using tiny bones and taxidermied animal parts, Ave brilliantly assembles morbid objects into miniature characters, each one uniquely adorned with intricate clothing and glimmering stones. From rings on clawed fingers, to bejewelled masks, to a delicate, golden dress tailored for frog hips, the detail she crafts is incredible. Each creation is animated with motion mechanics, allowing them to move and sway along with accompanying music, like grotesque music box ballerinas. In an anxious (and sometimes satirical) collision of materiality with the horrors of death and rot, Ave’s living-dead creations ultimately represent the “beauty that can be found in decay and disarray” (Source).
This collection, titled Bestiary of the Automata, was featured as part of the 3rd Biennial Taxidermy Show (2014) at the La Luz de Jesus Gallery in Hollywood. In addition to her dark menagerie, Ave crafts a collection of other motion-infused works, such as mechanical butterflies and Watchbots, which are “miniature robots made of watch parts” (Source). Her works are characterized by compelling double-effects, blending beauty with the bizarre, technology with tradition, and youthful whimsy with the cold, mechanical realities of death. Behind all of the clockwork, darkness, and hints of satire, Ave’s creations celebrate life by fearlessly confronting themes of a macabre nature.
Spanish artist Javier Riera produces what he calls “light and geometry interventions” on landscapes. Using powerful light Riera projects geometric patterns on to natural vistas. The projections can appear to transform a treeline into a two dimensional plane. At other times the light seems to add strict geometric shapes to the wilderness. The light and patterns disrupt the perception of the view they cover. Riera’s transposing geometric patterns onto natural scenery partly alludes to language, matter, and the way the two interact.
Scottish artist Rob Mulholland’s outdoor installations of ghostly figures disappear and then reappear over and over again reflecting their surroundings and creating an infinite world of dense vegetation with just a hint of humanity. (via collabcubed)
I usually don’t really get down with designers who nostalgically embrace the bad/vernacular design of their 80s/90s youths, but I have to admit that I’m liking this stuff by Tabor Robak. If I had to try to describe his aesthetic, I’d probably say it’s the visual equivalent of a guitar solo. Maybe a guitar solo while wearing sunglasses, on a huge arena stage with a ton of pyrotechnics.
Chloe Newman is a London-based photographer whose bright, surrealist imagery juxtaposes body parts with objects in the creation of uncanny visual puzzles that are rich with analyses of popular culture and consumerism. Two of her series are featured here: Visual Conflicts and Black Tropicana(in collaboration with Rebecca Scheinberg). The former — characterized by hands and feet interacting strangely with edible materials — triggers curiosity and also challenges the way we see food, giving it a commodified (and sometimes an oddly fetishized) object-status. Black Tropicana, which was “inspired by pop culture, 70s glam disco, and artificial worlds” (Source), similarly turns glamorized objects — acrylic nails, jewelry, and cocktails — into attractive but superficial representations of themselves.
With simple compositions and eye-grabbing colors, Newman’s works initially resemble the fashion advertisements you’d find in a magazine. But such staged product marketing is the very thing she seeks to critique in her work, and she does so by confronting us with their constructed absurdity; whether it is acid-bright nails clinging a fistful of jewels, syrup being poured over a bouquet of white roses, or a lobster about to be devoured over gold satin sheets, her unusual images unveil such magazine ads as contrived, hyper-real depictions of objects that have been attributed a certain “status” in our consumer culture. Critical analysis aside, the power of Newman’s photography lies in the fact that it simply intrigues us — we are attracted to the image, but also unsettled by it, unsure of what it is supposed to represent. An encounter with her work becomes an enjoyable mental interrogation.
Visit Newman’s webpage to see more of her work, including a similarly surreal series called End of Genesis. More “visual uncertainties” after the jump.
These headless figures resemble ancient Venus statuettes. However, the sculptures’ construction betray their modern origin. Artist Etienne Gros pulls, tucks, and pins foam to resemble the classic nude. The full curves and folds of the foam mimic human flesh in strangely similar manner. Gros contrasts the age-old form with modern industrial material to highlight concerns that have never disappeared – the body, sensuality and sex. Gros is familiar with the human figure beyond this unique medium. He’s explored themes of the classical figure in paint and even smoke.