Adam Vorhees’ photographs portray animals in a new light. Gone is the image of a pathetic beast destined for a crappy zoo or slaughter house. Instead Adam presents portraits of complex and intriguing animals that you want to keep around forever and maybe even go for a jog with (Babe’s training for a marathon!).
Here’s a lovely German artist to start your Thursday morning off right. Elisa Strozyk makes work that is beautiful and clean, but often seems to have a functional purpose. She creates wooden textiles, hand cuts her own wallpaper and even made a radiator that changes color as it heats up. Elisa has upcoming exhibitions in Frankfurt, Cologne and Milan.
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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).
Martin Eder is a German artist based in Berlin, whose nightmarish and perverse paintings abound with contradicting romantic cliches and infantile desires; his work displays lolitas in pornographic poses that are montaged with skycaps, warm bedroom interiors, and saccharine, girly kitsch that includes oversized crying kittens, giant candy, songbirds, fluffy poodles, puffy clouds, and cuddly white bunnies. Eder works exclusively from photographic references, making full use of high contrast and flat shadows and edging subjects with cyan and magenta. His paintings look imperfect and rushed in places, as if he works on his paintings only until they seem convincingly realistic enough. This slightly unpolished quality facilitates the paintings’ exploitative, creepy aesthetic and especially affects his female subjects, making them feel nondescript; the consequences of this purposeful lack of care in turn references the faceless and aggregative nature of pornography.A recurrent aura of seediness and the slightly distorted proportions of Eder’s subjects are reminiscent of the work of German Expressionist Otto Dix, although the anonymity of Eder’s subjects is a theme not reflected in those of Dix.
Aleksandra Domanović deals with sculpture that echoes monuments from the past from her native (former) Yugoslavia. While some sculptures take on more traditional forms of post-Communist leaders, the Berlin-based artist also began experimenting with unique materials in her work. 19:30 Stacks was created by piling size A3 and A4 paper with photos printed on their sides with ink-jet printing. First creating a massive PDF file of a photo, Domanović set the printer to ‘border-less print’ setting, which coated the ends of each paper, and when stacked upon each other, revealed the finished image.
For a time this work was open-sourced so that anyone could make one for themselves by downloading the file (now broken), printing it out, and then placing it between 1500 empty pages on the top and bottom of the printed stack. According to her artist statement, Domanović’s “work focuses on profound social and media-technological transformations, and their interdependence. Some of her projects give form to the relationships of meaning imposed by archival models. Others suggest alternate models that draw on her observations of shared memory and feelings of community. Domanovic uses material related to her autobiography — the television, music, and monumental art of Yugoslavia — as well as materials that claim transcendence of the personal and national, such as Getty Images’ database of stock photography and (on the blog Vvork, which she co-edits) international contemporary art production.” (via u1u11)