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.
Michael Murphy is a Brooklyn-based artist known for his perception-challenging sculptural installations. Featured here is a new work titled “Branded,” commissioned by the Manhattan creative consultancy Lippincott. In an exploration of the term “brand identity,” Murphy used 100 laser-cut images of graphic logos to create a human face—more specifically, the face of his daughter, Iris Isadora. Portions of her photo where printed across each logo. From a distance, the image appears complete; move closer, however, and the portions break apart into distinct logos—Starbucks, Instagram, and KFC among them. Watch the video above and see how the installation changes form depending on one’s vantage point.
Lippincott believes that a company’s brand represents not only an identity, but a possibility; “it is who you are and who you aspire to be” (Source). By constructing a human face out of logos, Murphy’s work intends to represent how brands themselves can function similar to living entities, changing and growing along with the cultural trends. The fact that perspective changes the form and cohesion of the installation suggests that one’s own experience of a brand can function within a subjective framework.
In addition to Lippincott, Murphy’s other clientele have included TIME Magazine, Washington Life, and Art for Obama. For the past two years he has been collaborating with Michael Jordan and Nike in the creation of retail centerpieces for the Jordan Brand. View Murphy’s website to learn more. Isadora is a musician whose work can be heard here.
Under the typical gallery bright lights these sculptures from artist Diet Wiegman may seem like innocuous piles of trash. However, these ‘piles’ are meticulously arranged and precisely lit. The resulting shadows resemble famous works of art, icons, and images. He creates coveted works of art through refuse in something as elusive as a shadow. Though various types of ‘light sculptures’ have made their way through art in the past few years, Wiegman is a veteran. He has been using shadows and light as a medium for nearly five decades. [via]
Photographer Rachel Hulin’s photographs of babies floating through the air remind me of every classic painting ever made of small rosy faced babies floating through space with big lush white wings. Are these contemporary counterparts modern angels with invisible wings or is NASA training toddler astronauts? We may never know.
Sometimes things are better off being left “unfinished”. There’s more power that way. More raw, sticky, human emotion. Add such a methodology to an almost random selection of media and you have these works from Texas based artist Ckirk, who says he can “paint with anything”. Aerosol, watercolor, coffee, tobacco ash- he’s doing it. The paintings seem to say, “this is who we are, with all our ugliest inclinations completely exposed. Take it or leave it.” Ckirk has a new monograph out entitled “Ckirk Art: I Can Paint With Anything”.
Melbourne based artist Casey Jenkins is a self-described “craftivist” who founded Craft Cartel, an organization that seeks to combine crafting and political activism, in 2007. “Craft imbues you with power because you’re forced to contemplate the issue you’re addressing. It’s very reflective in a sense of when you put that message out into the world, people know you must really care because you’ve devoted that much time to it,” Jenkins says.
Jenkins’ most recent performance project, “Casting Off My Womb” (Aussie TV calls it “Vaginal Knitting”) involves the artist spending 28 days (the average length of a menstrual cycle) knitting from a new skein of wool that she has placed inside of her vagina each day. Jenkins explains that her performance would not be a performance if she didn’t include menstruation. While she is menstruating, Jenkins says it becomes more difficult to knit because the wool is wet, and she has to tug on the thread a bit harder. Overall, though, she claims the process is slightly uncomfortable, but can also be arousing at times. For Jenkins, she enjoys that her performance associates the vulva – something that can be found offensive or vulgar or invoke a level of fear – with the comfort and warmth that knitting provides and evokes.
“The fact that [cunt’s] considered the most offensive word in the English language is a real marker of the time that we’re living and of the society’s attitude towards woman. There’s nothing possibly negative about it. It’s just a deep, warm and delightful part of the female anatomy.”