Christopher Chiappa has been casting sculptures of eggs in plaster for the past five years and now they have taken on a life of their own. His work,“Livestrong” uses 7,000 eggs in a gallery installation and makes us wonder if we should be worried about an imminent egg invasion or if he’s simply putting egg on our face.
The pieces, which are the outcome of countless drawings and photos, have been painstakingly attached to Kate Werble Gallery (NYC) and look like an infestation climbing down walls, oozing across floors, and dripping from ceilings. But the Gallery provides us several ways to access the significance of the work, not all of which include a perilous plague. Perhaps the eggs are the energy of a large group, a non-threatening crowd, a recommended high-protein “Livestrong” recipe, or a nod to the “this is your brain on drugs” advertising campaign.
Maybe a little exploitative but well done nevertheless, these shots from photographer Allan Teger are done in single exposures. Natural, bodily curves take the place of hilly landscapes as miniature “people” go about their business perfectly naturally. A nice way to celebrate the human form through re-contextualization, or just pretty shots of naked people- what do you think? Whenever I see these little plastic guys being used in such a way, I always think of Slinkachu’s “Little People Project”. I guess this is a common thing now. But Teger’s been doing it for a while. (via)
Her toes were broken when she was a kid, then constantly bound to make them smaller until she couldn’t walk straight anymore. At the age of 88, Zhang Yun Ying is among the last witnesses of China’s infamous tradition of foot binding.
It has been recently brought to attention by a British photographer Jo Farrell who is already known for documenting endangered traditions and cultures. Her ongoing project “Living History” captures the lives of some of the last remaining women in China with bound feet. According to Farrell, in the past year alone, three women she’s been documenting have passed away so she feels it is “imperative to focus on recording their lives before it is too late”.
Tiny feet (with the ideal being no bigger than 3 to 4 inches) were once considered to be the symbol of beauty and social status. Young women would crush and bind their feet hoping to marry into money. Concealing the bound foot from men’s eyes also instigated an erotic approach towards it. Even though the inhumane custom was banned in 1912 by Chinese government, it was still practiced behind closed doors.
Apart from showcasing the shocking photos to the public, Farrell wants to make a point that modern women are not so different from the elders she works with:
“In every culture there are forms of body modification that adhere to that cultures’ perception of beauty. From Botox, FGM, breast augmentation, scarring and tattooing, to rib removals, toe tucks and labrets.”
Lindsay Bottos, a student at the Maryland Institute College of Art, has created “Anonymous,” a series of webcam selfies overlain with anonymous messages she’s received via her Tumblr page. The messages Bottos uses criticize her appearance, body-shaming and slut-shaming the selfies she’s posted to her Tumblr page. “I get tons of anonymous messages like this every day and while this isn’t unique to women, the content of the messages and the frequency in which I get them are definitely related to my gender. I almost exclusively get them after I post selfies. The authority people feel they have to share their opinion on my appearance is something myself and many other girls online deal with daily.”
The timing of Bottos’ project coincides with a recent article published by Pacific Standard that makes the case for online harassment, especially of women, as the next issue facing women’s civil rights. Even through a medium like the internet, a platform perceived as a level playing field of expression, women receive a disproportionate amount of threats and abuse related to their gender and appearance. Bottos asserts, “The act of women taking selfies is inherently feminist, especially in a society that tries so hard to tell women that our bodies are projects to be worked on and a society that profits off of the insecurities that it perpetuates. Selfies are like a ‘fuck you’ to all of that, they declare that ‘hey I look awesome today and I want to share that with everyone’ and that’s pretty revolutionary.”
Bottos’ other projects also heavily feature text, written or embroidered, onto various surfaces. For “Get Over It,” Bottos embroidered thoughts about her sexual assault onto a tear- and mascara-stained pillowcase; for “The Morning After,” she wrote thoughts in permanent marker in places touched by a hook-up; and for “I Don’t Really Miss You,” Bottos embroidered thoughts about a relationship onto images, clothing, and mementos. Whichever medium she uses, Bottos conveys her vulnerability though language and form, rendering an honest and engaging perspective. (via buzzfeed)
Los Angeles based artist Adi Putra takes you to an ethereal dreamland embedded in enigma, euphoria and that quintessential Southern California aura of bliss. It is no mystery why he frequently works with musicians such as Moby, L.A. Witch, Kimbra and The Vivian Girls — his style is fluid, loud, reverberating and ultimately undeniably cool. His work acts as the embodiment of warmth and mischievous freedom. It is images like these that save our souls from wilting during these bleak and bone chilling winter months. In moments of cold season melancholia, Putra reminds us, through an alluring controlled chaos, what true creativity and passion feels like. With titles such as Spring Fever, Valley of the Wind, and Dreamcatcher, his work pictorially creates that undeniable feeling of youthful excitement. That one you get sitting on a porch, drinking a beer as the sun starts to rise, filled with a quiet thrill for what’s to come. Almost like a vintage, punk rock Ryan McGinley, Putra is able to create striking images that demand attention through glorifying the beauty in youth and purity of nature. His work, romanticized with quiet tones of sepia matched with hints of ultraviolet hues of hippie energetic galore, hits every note aesthetically thrived for. Each piece is truly blissful, sinister and perfectly raw.
Artist Shirin Sahba’s exquisite works are ripe with tiny details and beautiful, fresh color. The grandiose compositions feature large skies and cross-sectioned grounds that reveal petals, flowers, and patterns rather than dirt or grass. Gradients of pinks, purples, blues, and greens fill the in-between spaces in a dreamy, hazy sort of a way.
Aside from the repetitive symbols and drawings, Sahba’s work is minimal. Her images feature one or two people as the subject, and we aren’t given much visual context clues. Sometimes, there’s a tree swaying in an imaginary breeze or an elephant giving two lucky people a ride.
Born in India, Sahba spent her adolescence surrounded by “the pristine azures of the Mediterranean in Israel,” and she visited 25 countries before she was 16. Her paintings speak of her upbringing as well as her love old cinema and traditional roots steeped in the Old Persian art of miniature. “I have often repeated the narrative of solitary characters traveling with no specific destination, allowing the journey itself to carry more importance,” she writes in an artist statement. “I have also concentrated on the simplifications of the traditional landscape into an abstract picture plane of colour and textures, while including figurative miniature characters and architectural elements, unifying the abstract with the representational. The characters are allowed to freely traverse a surreal landscape of floating colour planes.” (Via Art Hound)
Catching and throwing light from all the right angles, the peculiar, prismatic acrylic pieces from sculptor Phillip Low look like something from outer space. Tip-toeing on the line between art and design, these objects make excellent use of the medium—giving a sense of weight, depth and cellophane-like luminosity to the dense material. The expertly carved shapes combine crystal-like angles and precise areas of coloration to create a series of constantly-shifting reflections that use simple daylight to dazzling effect.
A friend just came back from Brooklyn with New York based artist/designer Tim Lahan‘s art zine Still Life With Sex Tape, and man is it a joy to look at. His drawings are simple, graphic, and funny. It mostly consists of taking ultra banal, overlooked objects and moments, reducing them to a few distinctive lines, warping them a little, and in doing so makes them silly, interesting, and just plain cool. If you like what you see, you can order his zine from Smalltime Books. They’re only ten bucks, made on recycled paper, and free shipping to boot– there’s no reason not to have this in your life! More of his zine along with some of his still life drawings after the jump.