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Impossibly Tiny Foods Made Of Clay

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Kim Burke’s miniature food sculptures are so realistic you’ll want to eat them in one bite. Inspired by the photorealist movement, Burke creates flawless dollhouse-scale meals from actual photographs, positioned at various angles for maximum accuracy. Each plate of food, so small as to be balanced on a human fingertip, is carefully rendered from clay using needles, razor blades, and a rock for texture. Chalk pastels add color. For cake frosting, Burke uses Translucent Liquid Sculpey mixed with solid clay. The artist’s company, Fairchild Art, offers a range of plates, from sweet to savory dishes, each at a 1:12 scale.

Burke’s passion for dollhouse accessories began as a hobby in 2008, but soon blossomed into what she calls an “obsession.” The work is painstaking and each piece typically requires one to three hours of full concentration, but the result is well worth it. She says of her process, “every time I make something new I always try to add something extra to make it even look more real.”

Decadent and indulgent, Burke’s tiny masterpieces combine the sensuousness of a Caravaggio painting with the whimsy of childhood play. Like Caravaggio’s Still Life with Fruit, each piece is entirely inedible yet invites a mouthwatering appetite. Burke’s delicate fruit baskets emerge like Eden’s forbidden fruit in miniature, igniting the imagination and uninhibited delight. Poignantly small, they remind us of the preciousness of our humanity. When seen on a plate the size of a penny, the most familiar food stuffs become miraculous and spellbinding. Made with tender love and care, the diminutive plates suggest our own fragilities and vulnerabilities. Take a look. (via Demilked)

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Compelling Nude Bodies Walk The Line Between Ordinary and Strange (NSFW)

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Dutch photographers Anuschka Blommers and Niels Schumm depict both sexes simultaneously in a series entitled Best of Both. It appears in Baron magazine for their The Future of Sex issue. The images feature nude male and female figures posed in different yoga-esque positions on the same gray carpet, with one half a man and the other a woman. Bodies are twisted matched up perfectly to create one whole person.

The combination borders on ordinary and strange. On one hand, these figures are nude, which is nothing new; we’ve seen it throughout our lives and plenty of times within the context of art history. But, at the same time, its creates a person whose extreme twists and distorted views (we see the butt attached to the front of a chest) immediately reads as something amiss. It subverts any sort of preconceived notions we have of the individual in a simple but effective manner. (Via It’s Nice That)

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Gruesome, Hyperrealist Oil Paintings Of Hacked Up Body Parts By Fábio Magalhães

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For Brazilian artist Fábio Magalhães’ hyperrealist oil paintings, the more grotesque the better. Using gruesome body horror imagery such as hacked up, barely identifiable body parts and suffocated faces in plastic bags, Magalhães’ work is as incisive as it is skillfully rendered. The breaking down of recognizably human appendages and entrails into chopped up, stomach churning chunks is purposefully reminiscent of a real-life counterpart: that of animal cruelty. Although we’re accustomed to seeing animals deconstructed into bright, vacuum-sealed packages of meat every time we go to a supermarket, it’s only when faced with the sickening sight of what our own bodies would look like if sold in similar plastic bags that truth of the cruelty behind the meat industry becomes stunningly clear. Magalhães’ paintings are nightmarish in portrayal, and certainly something you’d never want to see in real life, but when put to canvas are strong, provocative, and memorable works. Magalhães studied at the Federal University of Bahia in the city of Salvador, where he is currently based. (via Illusion)

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Petra Collins’ Neon Signs And Neo-Feminist Photography

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Petra Collins takes photos of her friends in cut-offs and puts neon Rihanna lyrics on gallery walls. It’s up for interpretation whether you see that as a form of feminism. She is a self-described feminist and walks the line somewhere between fashion and art culture. Not an uncommon thing to do, but certainly a path less easily tread by women artists addressing subjects that the fashion industry influences heavily and arguably negatively (…expectations of femininity and the female figure).

Petra’s practice sets out to embrace her own vision of what is beautiful, young and female. Conveniently, she is thin and (un)conventionally beautiful, but she has a point. There’s a definite irony in one woman telling another that what she does is somehow shameful or misrepresents the female gender. It’s slippery territory because one might wonder why Petra feels such affinity with this aesthetic. Is it because she was brought up on it, and what are the implications of that?

In 2013, Instagram deleted her profile for this picture after which she wrote an essay posted by Oyster Mag and the Huffington Post that you can read here on her website. Basically, She doesn’t want you to tell her what she can do with her body, whether you see it as feminist or not. Petra’s work is powerful, and yes, it makes young women and girls look sexy. The Teenage Gaze is a photo series from 2013 mostly of girls in highschool, bathrooms, with water, or applying makeup. It’s erotic and beautiful, delicate and girly in the most stereotypical sense. It defends the right to be as you wish as a woman, whether you fit neatly within or totally outside the box of preconceptions. See Petra’s most recent work on her Instagram feed (looks like she’s been too busy making art to update her website). 

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The Surprising Beauty of Yvette Meltzer’s Tumbling Clothes

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When you think of fine art, one of the last places you’d probably consider finding it is in the laundromat. Photographer Yvette Meltzer, long fascinated with the transformation of soiled to clean clothes, first sought to explore her fascination by visiting many different laundromats in Chicago. During these visits, she documented various aspects of the laundromat experience, but it wasn’t until she saw the images of dryers tumbling clothes on her computer that she knew she had captured something beautiful – animal and human forms were revealed to her through the compositions of color and texture being tossed around in the machines. Thus, Meltzer’s “Revolution” series was born, a series that transforms an everyday, mundane image into an experience of abstract mystery. Meltzer says, “What I see is not what someone else does. But people do seem mesmerized by the images and attempt to discern what it is they are looking for. People seem to have such a need for definition and tend to be uncomfortable with the ambiguous.” (via slate)

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Sponsored Post: Sauza Makes Summer Right

It’s the middle of summer and the mercury is rising. As your calendar is filling up with pool parties, barbeques, summer festivals, beach days, and picnics at the park you’ll be needing a refreshing adult beverage to take along for the ride. That’s where Sauza Sparkling Tequila steps in. For starters there is no need for mixers. Simply chill your bottle to perfection, pop open the top, and pour everyone the perfect hassle-free summer drink. You’ll be the toast of the fete and every guy and gal poolside will love you for bringing their favorite tequila to the party.

Sauza Sparkling Tequila is the ultimate summer get together beverage. Next time you’re firing up the grill remember to pick up a bottle or two to start your party right.

 

Sponsored by Sauza Sparkling Tequila

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Andi Schreiber Documents Middle-Age And The Need To Be Desired

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Andi Schreiber refuses to disappear. In her ongoing series, “Pretty Please”, she documents life as an aging suburban mom in a youth-obsessed culture. “Middle-aged mom” must be one of the least sexy descriptors around, redolent of yoga pants and stretch marks and sun-damaged skin. Yet as the years have passed, Schreiber has continued to feel young and sexual, even as she’s felt that society has closed those roles to her. She says:

“When I was in my thirties I heard the expression “Invisible Forties.” I couldn’t imagine how sexually inconsequential I’d feel throughout this decade.”

The powerful documentary style photos in “Pretty, Please” beg you to look. Honest and vibrant, they are not always comfortable. Victoria’s Secret has trained us to expect sexy lingerie on a young, taut body, not on folded and stretched skin. And yet, why isn’t this just as beautiful? Grow old or die, those are the only options. Why can’t we appreciate the child-scarred body of a woman who wants to be seen?

Self-portraits are interspersed with images from Schreiber’s life. A drop of blood on the toilet seat symbolizes her ebbing fertility; the lit interior of her closet holds neatly hung clothes and shelves of shoes, but also, stashed up and away, naked kewpie dolls, whimsical and eerie.

“You get into your 40s and things are very different, your perspective changes, and the way the world looks at you changes as well.”

In “Pretty, Please” we’re looking at Andi Schreiber and she’s looking back. This is definitively her — her life, her body, her blood — and yet this desire to be seen, to be valued on her own terms, could also represent the scores of middle-aged women who chose family and stability and have had their sense of self sacrificed to their suburban houses, and diapers, and carpools.

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Photos Of The Old Soviet Union Are Haunting But Alluring

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The story of photographer Rebecca Litchfield’s traveling to the ruins of the old Soviet Union reads like an adventure tale. As she and her guides were in the midst of exploring abandoned buildings and monuments, they were discovered by authorities.  She explains:

Not many explorers travel to Russia where the rules are very different, locations are heavily guarded and a strong military presence exists everywhere. There are serious consequences for getting caught. We managed to stay hidden for all of the trip, we maximised our stealthiness, ducking and diving into bushes and sneaking past sleeping security. But on day three our good fortune ran out as we visited a top secret radar installation. After walking through the forest, mosquitoes attacking us from all directions, we saw the radar and made our way towards it, but just metres away suddenly we were joined by military and they weren’t happy…

Litchfield risked radiation exposure, experienced arrest and interrogation, and was accused of espionage as she shot this series of stunning photographs. They depict areas of abandonment – forgotten monuments, peeling paint, a places where nature has taken over. The photographer offers many haunting sights never seen before by western eyes.

These images were comprised into a book entitled Soviet Ghosts. They were all taken by Litchfield, while essays and articles by Professor Owen Evans and Neil Cockwill from Edge Hill University and Tristi Brownett.

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