Cody Hoyt of Apenest fame recently created a brand new limited edition silkscreened print, “Rise and Shine,” sent straight from an astral projection and into your orange shag, unicorn carpet disc0-ball custom RV. Cody is part of ourindependent artist’s network (represented by tiles on the lower right hand side of our site). What is probably most exciting about this acid-induced multi-armed vision is that it can be viewed in daylight….and blacklight! Remember in high school when your one friend had the cool hang out with the parents never home and you’d have friends over to stare at mushroom-vortex blacklight posters and pretend you were burned out hippies on mushrooms, even though you were only 14? Well, my friends, Apenest has created a slightly more adult version for all us UV-obssesed kids who have grown up (or not). Some amazing behind the scenes process shots after the jump, including his tromp l’oiel suggestion box bathroom…..
Dutch artist Daan Botlek creates commissioned murals and work for the street. His art makes use of simply conveyed bodies often contrasting the inside with the outside. Many of Botlek’s pieces illustrate a sort of literal introspection, looking inside each character. The characters peel off, crawl out of, and smash off outer layers to expose the inner person. Botlek works both in the gallery and on the street, his figures populating walls through out the city inside and out. [via]
The 27-year-old Fortunato Castro grow up listening to his mother recall vivid memories of her youth in El Salvador. Now a photographer, Castro returns to images of his mother at his age. The art theorist Roland Barthes once wrote about his search for his late mother within photographs of her; in the series Some Girl, Some Where, Castro takes it a step further, animating the vintage photographs by dressing and posing as his mother.
In the poignant series, Castro doesn’t intend to impersonate his mother in a literal sense; rather, the images read as a son seeking to understand his mother and her youth by physically placing himself in her shoes. Each image is shot with earnest reverence; every gesture he sees his mother make is carefully mimicked, from the concentrated application of mascara to the self-conscious covering of the chest.
Photographically, Castro sees differences in the images of young women today and of his mother’s generation. The modern snapshots that permeate our culture, he suggests, are more casual and candid; a girl takes a shot of her friends as they get ready for a night out, or a woman sends an intimate selfie to her lover. The photographs of his mother’s youth are more serious and polished, and he conveys that elegantly, acknowledging the viewer in each image and positioning himself with careful deliberation.
The obvious sexuality of the photographs remain touchingly innocent; Castro’s curiosity about his mother’s body reads more like a confessional than an exploitation. He returns to the sensual exploration of childhood, using his own body to navigate his feelings about his mother’s. Take a look. (via NYMag)
Beijing based fraternal pair Gao Brothers have been collaborating on nstallation, performance, sculpture, photography works and writing now for three decades and shocking museums around the world with their guerrilla tactic art, one such featuring an apologetic Chairman Mao on his knees with a detachable head. Exhibitions by the Gao brothers, whose work the authorities find politically challenging, have been shut down in the past, and their studio has been raided. So they keep the head of Mao hidden in a separate location — reuniting it with its body only on special occasions to show friends and colleagues. Normally, the body of the statue remains headless, unidentifiable and nonthreatening.
The Unconventional Apology Project, created by Los Angeles based artist Chantal Barlow, was inspired by events haunting Barlow’s own family’s history. Her grandmother, Mableine Nelson Barlow, mother of 7 children, was shot and murdered by her grandfather two days following the finalization of their divorce. The dark secret has remained unspoken within her family, as her grandfather, a man of power, was never convicted or even sent to trial. As her grandfather grew older, he began to consistently capture moments from their family’s life. When he died, at age 84, he left her his beloved camera. Today, she uses this camera “as a tool to photograph…women that have been impacted by abuse, and have been silenced.” She aims to give these women a “Trail of Existence. They will not disappear.”
Barlow and her teammates, Tiffany Curlee and Dr. Susan Hammoudeh, have taken on this ambitious and altruistic project with the aims to create a platform to raise the volume of survivors of domestic violence. Not only does the team capture portraits of these women, they also have listened to and documented their stories. Each photograph shows the brightness and radiance in each of these women’s eyes, proving that there is light on the other side. The diversity of both the women’s stories and appearances teaches that domestic violence has no face. This is a truly pure and critical project, offering insight into a dark and far to common reality.
The body of work has been created to, in the words of the project developers;
“recaptur[e] the humanity of abused women. Part of the apology is shaking up our preconceived notions of abused women; how we have made them all appear (or disappear) in media and other social outlets. They have lost their personhood, and are reduced to an event. This portrait project aims to shift our experience of these women.”
To know more about the project and get involved, find the project’s website here.
Some pretty stark imagery from “Martyred Saints”, a series of photographs by Toby de Silva:
“…the Saints are displayed in a cathedral in Eastern Germany close to the Czech border and were acquired in the 17th century when there was a big trade in relics. They are said to be the remains of Martyred saints that were stored in the catacombs of Rome before being removed and traded. They were reassembled and dressed in their fine regalia and displayed in ornate cabinets.”
It must’ve been pretty dark in the “catacombs of Rome”. The photos are also fairly dark, not much to hold onto by way of background. But the blackness in each photo is balanced by Silva’s bright, clear lighting of his subjects and their jewels. (via)
Elle Muliarchyk is a photographer and filmaker from NYC. Her recent project “Begotten,” a book project that looks to reinvent religious icons as Pop Icons.