African-Mexican-American photographer Hannah Price reverses the power of the male gaze through capturing spontaneous photographs of men that catcall her. Through them, Price transforms these men’s taunts into an exercise of reflection and observation.
“This project is a work in progress documenting a part of my life as an African-Mexican-American, transitioning from suburban Colorado to consistently being harassed on the streets of Philadelphia. These images are a response to my subjects looking at me, and myself as an artist looking back.”
The bold project is neither a judgment on men nor a comment on race, but it is certainly a way for her to take control of a situation that she would not be able to control otherwise. Through her camera, she captures the actions of her ‘suitors’ in a precise and spontaneous way, and although she is taking control, she does not intend for her actions to cause these men to reconsider their actions. In a sense, she wants them to be themselves; this is the only way for her to further understand their behavior and find the humanity that lies within their actions…if there is any. (via feature shoot)
Nicholas Hance McElroy takes photographs, but photographs unlike any I could ever take. A) Because I’ll probably never go to such dramatic landscapes as these, and B) They’re so beautiful and hazy… as if part of a far-off dream.
Icelandic artist Shoplifter aka Hrafnhildur Arnardottir lives and works in New York. “Her body of work as a whole exists in the gray area between visual art, performance, and design. Shoplifter has worked for several years exploring the use and symbolic nature of hair, and its visual and artistic potential. For Shoplifter hair is the ultimate thread that grows from our body. Hair is an original, creative fiber, a way for people to distinguish themselves as individuals, and often an art form. Humor plays a large roll in her life and work, sometimes subtly, but other times taking over. This humor extends to her love of playing with the juxtaposition of opposites. Like with her hair pieces- they appear beautiful evoking natural forms and plant life, but at the same time hair is considered grotesque and disturbing when it is not attached to the body, like hair in the shower drain. She uses traditional handcraft techniques like knitting, weaving, and braiding to create new forms of textiles, while referring to established methods in art. She is attracted to the playfulness found in folk art, naïvism, and handicraft which all have a strong influence on her organic process of creating work.”
Do you know someone who, beneath their clothes, has extensive tattoos? They might look unassuming from the outside, but underneath reveals their impressive collection of body art. That’s the idea behind Vancouver-based photographer Spencer Kovats’ series Uncovered, in which he invites strangers to pose in two photos- one where they appear fully-clothed and the other where we see their ink in all its glory.
The subjects have colorful, full sleeves and backs of intricate designs that showcase the art of tattooing. There is an interesting juxtaposition between the two photos, as someone sheds their skin to who they really are. They look more relaxed and at ease. At the same time, it also challenges us to think about how we judge people and how this changes after we see stripped down.
Kovats is one of 11 photographers participating in the “The Tattoo Project” that began during a long weekend 2010. Hundreds of tattooed people journeyed to shared studio space to pose before the cameras. The photographers captured thousands of portraits that each explored different aspects of body art. (Via Huffington Post)
After dying and coming back to life, Stuart Semple decided to become an artist. After years of hard work (and a controversy beginning with one of his sculptures, and ending with his smuggling his work into Charles Saatchi’s gallery), Semple has been able to get his name out. I love his quirky sensibility and use of color. (You might remember his happy pink clouds which he floated above the streets of London last year.)
For her series of ceramic sculptures titled Shadow Circus, Kirsten Stingle draws upon her extensive training in the theater to create subtle narrative pieces. Incorporating found objects with her considerable technical ability, the artist summons dreamy stories through her command over gesture and shape; the blend of rusted objects and newly formed faces stands in for any physical movement normally employed to convey the passage of time.
Shadow Circus is evocative of miniature puppetry works like Alexander Calder’s legendary circus, where only the slightest details make the inanimate appear human. The narrative power of the circus lies of course in motion, which Calder once evoked with his pulleys and threads; Stingle impressively avoids the performative, and her painfully still works appear as if frozen, on the verge of animation.
In this way, each figure reveals itself like a funerary figure, meant to accompany not Cleopatra but the modern woman into her tomb, bringing with her objects useful in some imagined underworld: a machine-horse hybrid motorbike, a foreboding rowboat with wheels. The work’s religious iconography further realizes this thrust toward an otherworldly eternity; a Catholic-style papal mitre makes an appearance, surrounded by delicate symbols of the cross.
The artist also seems to pull from the work of women artists like Georgia O’Keeffe, combining fatalistic bleach white bone with the seductive prettiness of a pink rose, red lipstick, or a baby doll wearing pale bunny ears. Placed firmly within this feminine aesthetic, Shadow Circus is simultaneously blossoming and fertile and eerily disquieting; Stingle’s nuanced work appeals both to a fear of death and a hope for rebirth. Each piece, with its antique aesthetic and meticulously fashioned visage, is poignantly left eternally waiting for the movement and life that feels so inherent within her. (via Hi-Fructose)
It’s hard to stand out as a collage artist these days. But Brooklyn-based Pierre Botardo is so good at what he does that his wonderfully composed , vibrant works have no trouble ‘standing out’. This new batch of collaged goodness from Botardo gives you the idea that the artist has somehow gazed into the collective childhood memories of all Americans, and combined his experiences into a collection found on paper that is so empathic, that it makes us want to go home and do it all again.