In the wake of a horrific incident in which Sasha Fleischman, an 18 year old “agender” youth, was set on fire after falling asleep on a bus in the Bay Area, San Francisco Magazine commissioned photographer Chloe Aftel to capture a series of portraits of young people (including Fleischman) who defy the male/female gender binary.
Aftel’s “Agender” series seeks to raise awareness of an overlooked and misunderstood community of gender fluid people who face oppression and harassment simply for not conforming. Preferring terms like “genderqueer” and “nonbinary” and the pronoun “they” over “he” or “she”, this growing community includes people who identify across the gender identity spectrum, from agender (neither male nor female) to bi-gender (both male and female) to gender-fluid (shifting from male to female).
“They have a real strength of character and complete clarity about who they are,” Aftel told Vocativ. “I found it fascinating that there is this whole group of people galvanizing the debate about what gender is, and to a certain extent, what love is and what self-expression is. It’s about what works for you.” (via feature shoot and policymic)
“uS is the pseudonym for the Conceptual/ Outsider Art duo of Brent Bumgarner and Chris Johnson. Brent, a blind quadriplegic from an automobile accident in 1999, uses an usb pen with his mouth to draw, trace, type, and paint. Chris collaborates in a technical advisor capacity.
The childhood friends formed uS in 2005 from a convalescent home in Asheville, NC after an argument while trying to write an email with speech recognition software. Since then they\’ve created hundreds of works, published a book, and started a non-profit organization to support stem cell research.”
Daniel Eatock, AKA the co-creator of indexhibit has some interesting participatory projects of his own. This project, “No photographs” asks that people submit photos of signs telling them not to take photographs.
Human bones, any bones, are signifiers of death, decay- in more poetic terms- the ephemerality of life.
Photographer Francois Robert uses the powerful symbolism that accompanies human bones to create ‘Stop the Violence’ – an eerie but important series of photographs that juxtaposes bones and iconic words/symbols that in some way or another have generated deaths and violence (i.e wars, rifles, handguns, 9/11, knives, the KKK,etc)
In my photographs, I use the human skeleton as the formal visual element, the subject of the image. In this manner, the skeleton is both the protagonist and antagonist (the Buddhist notion about, “the duality of man” seems apt).
For each photograph, the artists dissembles and rearranges the bones in order to reconfigure the elements to form what you see here.
I intend the images to plant the notion of restraint and charity in an effort to promote peace and tolerance.
Libby Black‘s sculptures are delicately pieced together paper, hot glue, and acrylic paint. In this way she recreates everyday objects as designer products. Though Black’s sculptures are constructed with care, each is clearly playful. Rather than use a heavy-handed sarcasm, she seems careful to be at once ironic and earnest, critical and in praise of materialism. Her sculptures effectively investigate a complex love/hate relationship with a name brand life.
Appropriately, Libby Black’s enviable ‘luxury’ sculptures are featured in the “Seven Deadly Sins” themed Beautiful/Decay Book: 9. Be sure to check out Black and many other amazing artists, illustrators, designers, and writers also featured in the book.
I have a deep respect for anyone who is willing to put their face on a bus stop bench knowing what people do to them. I thought it would be fun to do my own take on our local realtor advertisements.
We are all very familiar with the ridiculous realtor portraits on the bus benches, right? Well, freelance designer and creative director Phil Jones gives them an even more ridiculous spin.
As you can see on the images, Jones is eager to channel his inner realtor as he inserts himself into these local realtors’ advertisements. He goes deep into character by imitating the realtors’ poses, clothing choices, and even their hair and make-up! It is obvious that Jones wants to look as fake as possible; I think that this is part of the plan. There is no way that someone could pass by and not notice the wigs, the weird poses, and the overall awkwardness…or is there?
Although there isn’t much similarity between the mock and the real thing, it is still possible that many of the onlookers didn’t even notice the difference. Jones looks as ridiculous as the realtors do in the original, so it might of just passed as normal.
It all goes to make us question if these absurd ads make any impact at all. Do we expect these ads to always be this bizarre and comedic?
Now, I’m not even sure which one is funnier. (via)
I found Julio B Esq’sBouduoir series during my weekly stroll through the B/D Creative Pic Pool. Julio’s photos walk a fine line and could quickly be dismissed as shocking snapshots of drunk/high people taking part in bizarre acts.However I think there is something that sets his work apart from all the shock and awe Terry Richardson wannabes that deserves a closer look. When I first saw these photos I immediately thought about the infamous Calvin Klein ads that were scrutinized for their basement kiddie porn appeal. I can see Julio’s photos taking place in the same old basement as the CK shoots complete with cheap wood paneling and 30 year old shag carpet. Creepy or not Julio’s photos have an erie calmness to them that separates them from the pack. I liked the series even more once I read his text about the inspiration for the set:
“Historically, the boudoir formed part of the private suite of rooms of a lady, for bathing and dressing, adjacent to her bedchamber, being the female equivalent of the male cabinet. In later periods, the boudoir was used as a private drawing room, and was used for other activities, such as embroidery or entertaining intimate acquaintances.”
Denise Kupferschmidt lives and works in Brooklyn, NY. We have featured her collage pieces here in the past. Her new body of work consists of sumi ink and acrylic paintings as well as concrete sculpture. These are explorations into what she calls “Crude Idols”. Using a monochromatic palette she presents the viewer with anonymous objects and artifacts of manufactured significance.