Cristin Richard Explores Race And Identity With Dresses That Resemble Skin

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Cristin Richard

Cristin Richard

Cristin Richard is in the movement of artists whose work is related to the body and identity. Her work examines the human condition and the fact that the body is physically and mentally determined in this condition. It is thus the window of our relation to the world. She transcribes her own personal story through impulses to existential questions.

In this particular work, The Political Aesthetics of the Skin, Richard plays with fashion, sculpture, performance and social commentary in order to bring forth these beautifully made gowns that resemble the look and feel of human skin.

Here, Richard is interested in examining the body, personal identity, as well as sculptural objects in a subtle but powerful way. She explores these themes by creating sculptural dresses that resemble skin color and skin textures made out of animal intestines. Richard’s usage of organic material, is what gives her looks the means to exist as throughly manipulated pieces, an obvious detail that makes her fashion garments have more of a sculptural feel than just regular fashion pieces. After creating the dresses, the Detroit based artist puts together an elegant performance that include women of several skin shades; she purposely finds models that perfectly match the dresses’ skin color tones. Although her pieces are wearable and highly fashionable, here, the dresses go beyond trends.

With the idea of fashion as sculpture, Cristin Richard blurs the line between fine art and fashion. She believes that fashion allows one to create a second skin. It provides an escape that is rooted in the truth to one’s own identity. One can transform themselves into whatever makes them feel good, allowing them to approach society in their own unique way. Through these observations, the artist develops and analyzes the subject of the appearance of one’s self, and also that of one another.

Lisa Swerllng’s Tiny People With Pubic Hair Make Bold Emotional Statements

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Trapped behind glass cases, the miniature human subjects of Lisa Swerllng’s Glass Cathedrals unabashedly perform daily rituals normally veiled from the outside world. The stunning pieces afford viewers with a whimsical type of voyeuristic indulgence. Like children before a set of dolls, we are invited to examine the many mundane moments that compose adult life, breathing life and meaning into each dollhouse-like setup with our own imaginations.

With its feet firmly planted in childlike curiosity, the series is unafraid to veer into tragic emotional spaces; caught staring into endless amounts of white space, many of the figures appear lonesome and fully aware of their smallness. A woman scrubs at a dizzyingly vast array of tired floors and walls, incapable of completing her work for her own tininess and permanently fixed position. Similarly, a man stares at his cow, a sole companion who does not return his gaze.

Though humorously seen, Swerling’s models are at times bitterly unaware. A group of people stand before a glass case containing the figure of a generic ghost labeled “god” with a sign stating, “In case of emergency break glass,” not noticing that they themselves are encased in glass, searching for meaning in the touchingly absurd. The viewer, in turn, is forced to face his or her burning existential yearnings within this magically adult dollhouse.

The idea of domesticity as it relates to femininity shines through in Swerling’s work in unexpected ways. A piece titled “A woman’s work is never done” features a woman sweeping pink glitter, erasing the suggestion of the usual portrayal of the home as unfulfilling; here and in a piece that features a woman serving dinner at the head of the table, glitter serves as a surprising and ecstatic symbol of female self-actualization. From the woman who examines herself before a mirror to an unwaxed redhead standing nude before circle of nuns, Swarling’s women embrace their activities unabashedly.

Hitting poignant notes that remind us of the power that lies beneath human smallness, isolation, connection, and actively defined identities, Glass Cathedrals serves as an alter at which we may worship our own condition. (via Foodie Bugle, Catto Gallery, and Lost At E Minor)

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Gowri Savoor’s Compelling Sculptures Created Out Of Seeds

Gowri Savoor
  Gowri Savoor

Gowri Savoor

Gowri Savoor

Although Gowri Savoor experiments with dozens of different mediums, ranging from drawing and painting to mixed media sculptures made from fabrics, woods, her Seedscapes series might be the most immediately powerful. Taking various plant and fruit seeds which are pinned against boards like butterflies, in more geometrically-challenging patterns and formations, the sculptures resemble other natural forms, such as waves, sound-waves and snow or sand dunes.

The Leicester, England-born artist currently lives and works in Vermont, USA, where she gathers the various seeds used as materials in her metaphorically ephemeral works (including pumpkin, apple and sunflower). Says Savoor of her loaded-material choice, “In themselves they’re very fragile. No matter what I do, the pieces will continue to decay. There’s a human sadness as well, that everything will eventually die.” (via junk-culture)

18th Century Paintings Of London Remixed With Google Street View Take Us Back In Time

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18th Century Paintings

The saying “the more things change, the more they stay the same” proves itself to be true with this outstanding series of work by redditor, Shystone.

On this body of work, the artist cleverly juxtaposes paintings of London from the 18th and 19th century with London’s modern-day settings in Google Street View. Taking inspiration from the film “London, Then and Now”, Shystone takes several popular landmarks on Google maps, including Westminster Abbey and the River Thames, and just like a puzzle, he inserts the matching 18th/19thth century painting where it belongs on the GSV’s shot. The beauty of this is how much we think things have changed over time, but truly, as we can see here, everything still kind of remain the same, at least aesthetically/architecturally. The  19th/18th century paintings make us nostalgic for the simpler times, but the Google Maps image makes us cynical about today’s highly industrialized, loud and filthy London. It is interesting to think about how we are looking and thinking about these polar opposite characteristics in a place that has physically changed very little. (via The Atlantic Cities)

Early Record Covers By The Prince Of Pop Art, Andy Warhol

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Before he was the Prince of Pop Art and arguably the biggest art star on the planet, Andy Warhol was one of the most sought-after graphic illustrators in Manhattan. Years before he designed two of Rock and Roll’s most iconic album covers, Warhol was responsible for a series of recently recovered Jazz record covers for Count Bassie, Thelonious Monk and Moondog.

Rendered in his then-trademark ‘blotted line’ style (a technique Warhol mastered before screenprinting, where a single line of heavy, beaded ink was drawn on one sheet of paper, and then pressed against another which created a blotted monoprint), these whimsical and funky covers graced some of the best jazz albums of the 1950′s.  The quality of Warhol’s highly trained freehand drawings separated him from other commercial illustrators of the day, but one of his many secret weapons was his mother’s gorgeous script writing, seen heavily in the looping, colorful script featured on The Story of Moon Dog (above). Warhol employed his mother’s lovely writing to essentially double his work-load, a precursor to his loose-authorship creative policy that would become commonplace later in his Factory days. (via dangerous minds)

Luciana Urtiga’s Eerie Photos Explore Ideas Of Multiple Selves And Self-Discovery

Luciana Urtiga

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Luciana Urtiga

 

Luciana Urtiga

Brazilian artist Luciana Urtiga creates black and white portraits that explore different aspects of self-discovery and the notion of multiple selves. By digitally altering her face and body, she creates images that showcase multiple faces/bodies or the absence of her identifiable face. By doing this, Urtiga enables her viewers to embark on a visual journey that seems to be indicative of Urtiga’s personal struggles and successes with self discovery.

The dark, eerie feel of the images help the work to become an even clearer visual testament to the the struggles of being young in today’s tough world. Who do I want to be? Where do I want to be? Should I try out different professions, and live with different people? or maybe it would all become easier if I just became invisible? These are all questions and thoughts that are visually conveyed by her work.

Simple, but strong and powerful, her work conveys universal themes that regard existential questions, most of which are more often encountered by young adults struggling to find their way in the world. (via IGNANT)

Stretched Skin And Gruesomely Flattened Bodies Reveal Human Truths (NSFW)

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What story would your flesh tell if it were splayed and flattened, digitally altered to appear as a work of art, caught between the angled sides of a camera frame? For his stunning series of photographs, titled Skin, the photographer June Yong Lee manipulates portraits of nude bodies, arranging their torsos in such a way that defies the limitations of the muscular skeletal system.

Despite the artist’s deliberate omission of common indicators of visual identity—facial features, body shape, and race—the images are an authoritative and legible document of selfhood. Pointing to the human desire to express what cannot be conveyed with language, Lee’s camera reveals tattoos, tired milky breasts, freckles, and scars.

For the artist, skin operates as a visual diary of experience. Without the guidelines of a more recognizable human form, memories— that range from the mundane to the sexually charged— are kept only through marks etched on flesh. He writes, “our skin never forgets [our past].”

The ideological tensions between body and mind are subverted as the skin organ is compressed; as if they were flowers held between the heavy pages of an encyclopedia, mounds of sin become something to be studied and read. The careful framing of each piece enhances this idea; positioned in relation to a central axis of the navel, the bisected torsos appear bound down the middle like some sort of corporeally historical book.

The phenomenal work is so poignant because in some ways, it confirms the unreliability of a subjective human memory: tattoos are faded or unreadable, and scars are healed. The images seem to blend the antique tonal richness of early Victorian photography with a morbid sense of modern forensics; as if recovered from an ancient autopsy, the slabs of flesh are somehow mournful yet objective and scientific. Our memories erode, and we die; yet through some miraculous marriage of science and art, fragments of our forgotten moments might be archived. (via Feature Shoot)

Marc Dennis’ Hyper-Realistic Paintings Of Viewers Gazing At Famous Art

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Marc Dennis’ hyperrealistic paintings are centered around the gaze and ideal for viewers who enjoy spending a lot of time with a single work of art. Layered with symbol upon symbol, it’s apparent that there are two subjects featured in any one of his complex compositions – the person who does the looking and the object that’s being looked at. As we view how the two interact, we form a narrative about their relationship. What does it mean, for instance, that a NFL cheerleader stares at the classic Les Demoiselles d’Avignon by Picasso? How do the they relate to each other? And, how does this relate to us? In an interview with Hi Fructose, Dennis talks about trying to find our own meanings within art. He explains:

I saturate my paintings with truths and suggestions about human behavior, ways of looking, and the psychological, spiritual and physical relationships we have with art. Walter Benjamin, the famous social critic once said, “To experience the aura of a phenomenon means to invest it with the capability of returning the gaze.” I believe that we, as viewers and art lovers, are eager and more pleased when it happens, to find ourselves, or some semblance of ourselves in a work of art. In other words, I do my part in “returning the gaze” that Benjamin speaks of. And in this hyper self-conscious, glamour-driven, sexually-inflated and media-obsessed art culture of today, my works are satirical yet sincere, artificial yet real, and most definitely loaded with personal symbolism yet public pomp — a timely combination and expression. (Via Faith is Torment)