April Dauscha toys with subtle extremisms through her use of lace. Existing somewhere between performance art and fashion design, she wraps her tongue, her hands, and covers her eyes in various ways, half concealed beneath the delicately woven fabric. She makes tongue slips and singular gloves that she can put on, slowly, for the camera.
Some of the documentation is done through photographs, although there are also short videos which feature Dauscha, up close, putting things on her tongue. In this instance the work is quite phallic; sliding her tongue into the lace wrapping easily reminds one of a penis coming into contact with a condom. This wrapping, veiling, covering of the mouth in this particular manner seems an easy metaphor to an obstruction of either speech or individuality. She enters the fabric and is simultaneously entering an illusion, a changed version of herself. Neither fully obscured yet not limitless as before, her tongue is then partially concealed but operable. In yet another video she binds her tongue with a long piece of string, circling it around the tongue tightly, like a corset. Then she pulls the entire thing off. Dauscha attaches a lot of meaning to these pieces and movements:
“My making focuses on feminine objects and materials. Lace, veils, undergarments and hair adornment speak not only of womanhood, but also of the duality of human nature. Lace speaks of purity and sexuality, it reveals and conceals, it is humble, yet gluttonous in its ornamental overindulgence; lace is the ultimate dichotomy. I use it as a potent symbol to represent the duality of body and soul, right and wrong, good and evil. Historically, neglected, disheveled and unbound hair was a sign of mourning and penance, a physical representation of one’s sin and sorrow. In my work, hair comes to represent an uncomfortable binding of one’s self to one’s alter ego, while helping to
Bristol artist Camila Carlow creates these lovely renderings of human organs by foraging for wild plants, weeds, and the occasional animal part and then sculpting and arranging these various bits of flora. Her series, entitled “Eye ‘Heart’ Spleen,” recontextualizes images of organs such as a heart, lungs, stomach, uterus, liver, and testicles, demonstrating the reflection of internal biological structures with external natural structures. From Carlow’s site, “This work invites the viewer to regard our vital structures as beautiful living organisms, and to contemplate the miraculous work taking place inside our bodies, even in this very moment.” You can order prints and keep up with this particular project’s developments via its Facebook page. (via unknown editors)
Okay, ladies. You can stop sending us pictures of your bags now. The Trashed Bag = New Bag contest has closed and we officially have a winner! Thanks to all who entered, and sorry to those who didn’t win. We feel bad for you and your gross bags. There was, however, one bag that was the most pathetic, disgusting excuse for a bag ever…
…and that bag belongs to Tammy. Tammy wins a new bag courtesy of Moop. Good job, Tammy. Now throw that filthy thing away. Runners up after the jump.
collaborative duo Nicholas Kahn and Richard Selesnick‘s Mars: Adrift on the Hourglass Sea exhibition opens on Saturday, May 21st at Kopeikin Gallery. Kahn & Selesnick work lies at the intersection of historical fact, apocalyptic future and nerdy museology. Melding childlike playfulness with adult obsession, they create faux-historical narratives realized as photography, sculpture, and installation. “Adrift on the Hourglass Sea” is set on the planet Mars where the artists present a dark and powerful visage of a collapsed civilization on the red planet. Using photo-mosaics of the Martian landscape taken by NASA space rovers (they were recipients of a NASA commission to create work about Mars) and combining them with their own photographs of deserts in Nevada and Utah, the artists present their distinctive brand of sci-fi mysticism.
Swiss-Italian photographer Christian Tagliavini’s contemporary antique photos blend fine arts and craftsmanship seamlessly into “1503,” his captivating portrait series. 1503 is the birth year of Agnolo Bronzino, an Italian court painter for the Medici family of Florence, whose realistic paintings had an enormous influence on portraiture.
Though Tagliavini’s photos may appear to be historically based oil paintings, they are more than just a literal translation of antiquated art through new technology. The clothes and body positioning echo Bronzino and the light in these portraits is tender and perfect, but it’s the details of the photos that emphasize the modernity of the work-the stylized outfits, exaggerated necks, translucent skin and clear directness of the models’ gazes. Unlike the bold colors of the paintings, the photographs are printed in pale, unsaturated tones, which work to make them feel more contemporary.
“Christian Tagliavini loves designing stories with open endings (requiring observer’s complicity) on unexplored themes or unusual concepts, featuring uncommon people with their lives and their thoughts made visible. This rich and exciting collision of circumstances results in photos as a final product.”
Tagliavini is impressively skilled-not only is he the photographer, he is also the costume designer, set builder, and casting director. He says, “I’m fascinated by the fact that I don’t simply release the shutter, but that the real fun for me is before I take the pictures. I say that I’m not really a photographer, but a workman of photography.”
Anna Maria Bellman intricately translates cartography into her own unique style by simplifying their elements into positive and negative space. She cuts precise slices into paper, constructing sections of maps of cities all over the world. Each hand cut incision represent paths on a map, building up the framework for a city. The artist’s work is heavily influenced from her extensive travels. Originally hailing from Germany, she has adventured to an impressive amount of cities including London, Berlin, New York, Paris, and Rome, just to name a few. All of these incredibly complex and diverse cities are represented in her work as a black and white composition of crisscrossing lines, intersecting and forming the streets and rivers.
Many of her cutout maps do not even appear as such, but rather an abstract grid of geometric lines, forming different shapes and patterns like tapestries. When the light shines through Anna Bellman’s maps, you can see their shadows creating a three-dimensional affect. Having explored more wilderness destinations as well, Bellman’s other works are highly floral and inspired from lush nature. Her nature-filled works include amazing patterns cut by hand, as intricate and delicate as those found naturally in the wild. Although Anna Bellman’s body of work can represent two ends of the spectrum, nature and city, the continuous monochromatic choice of using white paper unifies her brilliant work.
With a name like Daniel Danger, well, a certain excess of awesome is expected of you. Danger delivers. The product of an artistically-inclined family, Danger is an illustrator, printmaker, and musician working out of New England. His works feature mysterious figures wandering the midnight-shaded streets of cities in decay. Spirits rise in unison from old houses and barns where now dreams of daylight lie interred. Shadows loom, larger-than-life (or death?) in urban sprawl and twisted forest alike. Each piece tells its own dark tale.
They say that facial Symmetry equals beauty. Well Photographer Julian Wolkenstein has put this theory to the test with both her Symmeytrical Portraits and his Echoism website where you too can see what you would look like with a perfectly symmetrical face.