Living on a Dollar a Day is a collection of photographs dedicated to taking a closer, personal look at the shocking poverty and hunger that millions go through every day. The book is a collaboration between author Thomas A. Nazario, founder of The Forgotten International, and Pulitzer Prize-winning photographer Renée C. Byer.
In an interview with Mother Jones, Nazario explains the impetus for the book: “I was tired of spending time with people on the street all over the world who had simply been forgotten—by their families, by their village, and by whatever communities they might be associated with.”
The photographs in “Living on a Dollar a Day” aren’t just snapshots; they are part of a continuing story. Nazario and Byer are careful to include a snippet of their subjects’ lives, closing the distance in a personal and intimate way.
“Why does it take a typhoon or an earthquake to wake up people to the truth that far more people die of poverty every day?” Nazario asks.
What’s behind the door of a therapist’s office? Psychiatrist and photographer Sebastian Zimmermann provides a look into these spaces with his new book titled Fifty Shrinks. It features 50 portraits of New York City therapists in offices that are normally only seen by their patients.
“In contrast to other medical specialists’ offices with their practical equipment of examining tables and rolling tools, the therapist’s work space has few obvious demands beyond seating for clinician and patient,” Zimmermann writes in the introduction. It’s fascinating to see how these offices vary, each with their own idiosyncrasies that meant to support those they’re trying to treat. An essay for the book, by architect Elizabeth Danze, explains that the spaces are “floating vessels, places of sanctuary and protection, healing, and reconciliation,” and goes on to say, “a patient reflects on the trajectory of his or her therapy, an indelible part of that recollection involves the space in which it took place.”
Depending on your personal preference, some offices are more appealing than others. The colors, textures, and choice of seating are all different and no doubt unique to their own philosophies. Zimmermann had the idea for this project about 13 years ago, when he was starting his own practice, and became “aware of the paradox that I spent most of my time interacting with many people yet feeling that I worked in isolation.” (via Hyperallergic)
To promote a new line of recycled paper, the creative ad-agency Soon made these fantastic sculptures of bugs. The bugs are inventive in form and colour, but are still recognizable as beetles, bees, dragonflies, and other species of insect. The wings are meticulously cut out to imitate the texture of real wings, but without the thin film that would allow them to fly. The sculptures really are all about texture. One that looks like it could be a fly has the texture of a fly’s eyes over the entirety of its body, and feelers that look like the filter-feeding system of a baleen whale.
It’s funny to see the “making of” video, because the bugs are as large as their creators’ hands. It’s entertaining to see the process of making the bugs. The video shows everyone at the agency sorting the papers by colour (even enlisting their children to help them), cutting the paper into different shapes or folding it like origami, and gluing it to create rather sturdy looking sculptures. It’s totally enjoyable to see such a collaborative effort to successful effect.
Soon also created flowers and other plants as a sort of habitat for the bugs. Using the habitat, they made a short film of the bugs flying around it, that is equal parts playful and funny. (Via Bizarre Beyond Belief)
The title of Lilly McElroy’s photo series “I Throw Myself at Men” could not be more literal. The photos, taken by her partner in the project, capture her mid-air as she lunges at various men. She throws herself into the air with abandon and trusts that these strangers will catch her. It’s an act of immense bravery captured on film. No, she’s not saving lives or fighting demons, but McElroy is risking rejection and public humiliation in the name of art, and that takes a strength of conviction that I find breathtaking.
Initially, McElroy arranged the photo sessions using Craig’s List, but found that the spontaneity of going to a bar, asking a physically large man to participate by trying to catch her at the very last moment, letting the bartender know what was happening, and then tossing herself in the air resulted in better images. The other bar patrons weren’t in on the project—the sight of the airborne McElroy and the flash of the camera were the signals that something was going on.
“I am, at the moment, part projectile and part foolish romantic. These images are documents of a hopeful and violent gesture, a demand that the possibility of a connection exist. The men often look terrified or at least slightly surprised. My role as aggressor is clear and I think my leaps acknowledge the basic human desire for contact.”
The awkward position of her body, the stoic tension of the male catcher, the illuminated bar scenes—all work together to make a captivating yet uncomfortable tableau. When they’re pictured, it’s the onlookers that make this series for me, though. Outside of the art making they smirk and gape—McElroy’s unexpected grand gesture of connection misunderstood and unappreciated. This spectacle of literally throwing herself at men mimics the small, sad desperations of women figuratively throwing themselves at men. By exaggerating the impulse, McElroy regains the upper hand. It is a supremely feminist performance, one that takes chances but never relinquishes power.
“The photographs, videos, and installations that I produce, while trying to interact, acknowledge the possibility of failure — that someone might not catch me, that a connection might not be made. It is that possibility that keeps things interesting. In the end, I want to make the viewer laugh, but I want them to understand that there is more at stake, that everyone is implicated – including me.”
The Story behind Snow White: On september 18th, the day of the shooting, Cornelia was celebrating her 94th birthday. She traveled 500 km to celebrate that day here in Buenos Aires, with almost 50 relatives. She arrived to the shooting with Pilar, her granddaughter. And I couldn’t believe that woman was that age! She is adorable, with a contagious energy. Mother of 12 children, having lost 6 of them, she grew up in the countryside and has had a strong life. However, she keeps such a great attitude & sense of humour. She is that kind of people who makes you to realize how beautiful life is.
The Story behind Superman: That wednesday, when I opened the door, there was a tall man impeccably dressed, in a grey suit. His name is Nestor, a 75 years old man, widower since 2 years ago after having been married for 41 years. Losing the partner of his life made him to realize that he must do something to continue, and that was how he discovered the passion about acting, singing and dancing. He is a very polite man, and his energy is admirable. At the age of 75, he does exercise every day and enjoys working, more for fun than for money. He is such an interesting person!
The Story behind Wonder Woman: I met Virginia more than 7 years ago, when she started taking care of Lorenzo, my 8 years old godson. Now she is like his grandmother. Mother of two sons and married for almost 40 years, she came to Buenos Aires at her 15 years old. Since that moment she never stopped work. I knew she would be happy to do this photographs, she is so smily and funny person; she is always ready to help and really knows how to enjoy life. I think I never saw her with bad humour in all these years…That is why I choose her to be Wonder Woman.
Romina Ressia set out to confront the realities of life and the fallibility of our childhood inspirations in her series “Not About Death”. The captions record her relationship to her subjects and her reasoning for casting them as each character. They are humorous portraits – especially when set up beside each other in the poster format – and the humour makes them that much more appealing as true figures of inspiration.
Italian architect and illustrator Federico Babina has created 27 fantasy buildings that meld famous artists and the places where they might live. The series “Archist City” is a clever melding of cross-sectional drawings of buildings and the signature styles of artists including Andy Warhol, Damien Hirst, Pablo Picasso, Keith Haring, Joan Miró, Josef Albers, and Piet Mondrian. The result is a cohesive group of easily identifiable buildings—in fact, pairing the artist with the correct drawing is part of the fun.
“Art, architecture and sculpture are historically linked by an unbreakable thread, we find examples of paintings and sculptures having a direct influence on architectural design. … Painting sculpture and architecture have always been complementary disciplines that influence each other and feed to grow and develop along common paths.”
Babina’s skilled artwork makes this look easy, but in actuality first fitting the artists’ iconic styles into an architectural framework, then keeping all of the buildings consistent in execution is the mark of a very skilled artist. Some of the artists play well together: Mondrian and Albers and Rothko for example. Others would seem to defy architecture, like Dali, Haring, and Miro, yet Babina has brought them into his imaginary cityscape. The identical background texture and color, font, and scale relative to the paper help tie the pieces together.
The silhouetted figures help sell these as buildings instead of artworks and the cross-cuts reveal wonderful details: Andy Warhol’s building includes soup cans and his Marilyn Monroe paintings; the huge shark in Damien’s Hirst’s building references his 1991 work “The Physical Impossibility of Death in the Mind of Someone Living.”
“These images represent an imaginary and imagined world of shapes that uses the brush to paint architecture.”
What fun it would be to inhabit this world of huge imaginations, awesome ability, and lasting artistic legacy.
DXV by American Standard is a landmark product line that represents the company’s storied history spanning 150 years. The collection spans four broad movements: Classic (1880 – 1920), Golden Era (1920 – 1950), Modern (1950 – 1990), and Contemporary (1990 – today). Each piece in the carefully curated collection harkens back to the era it was inspired by and combines it with modern sensibilities, technology and performance. Although each fixture is inspired by a distinct era, the entire collection has a dialogue and the ability to cross over and create a remix of eras in one space.
The Fitzgerald Collection by DXV perfectly encapsulates the beauty and lines of the 1920’s Jazz Age. The faucets, sinks and fixtures echo the rectilinear, geometric forms and shapes that ruled the Art Deco aesthetic. Artists, designers and aesthetes have always had a love affair with the opulent finishes, bold lines and flair of the Art Deco era, and the Fitzgerald Collection gives the modern home owner the finishes to create a sumptuous and inspired space.
Italian fashion photographer Lucia Giacani’s series Under My Skin shows just what kind of editorial liberties are taken in this interesting-yet-bizarre photoshoot. Originally shot for Vogue Italy, the colorful images feature a high-fashion model clothed in gorgeous garments while she dons unconventionally-colored makeup. It complements the props used in the photo; surrounding her are medical anatomy of the animal kingdom. Rabbits, goats, and chickens are all halved so we can see their insides.
Giacani’s photographic style is very clear and visual. Nothing is hidden in obscurity, and we see a lot of interesting details in the spotlight. The juxtaposition of the two main elements – the woman and the anatomy – creates a strange narrative. It makes us ask ourselves questions, like, who is this person? How do the two seemingly disparate subjects relate to one another? It’s this ambiguity that makes for a compelling and ultimately unforgettable image. (Via Illusion)