Last night I finally went to the Hollywood Forever Cemetery Screenings, a true experiential landmark of living in Los Angeles, and saw a collection of Kenneth Anger (satanic moving-picture majesty) films that he worked on from 1954-1979. The most memorable one was Lucifer Rising (1973) not only for its hauntingly beautiful footage (scenes shot in Egypt with amazing amazing costumes, rituals, strange/awesome editing techniques…), but also for its backstory. The amazing psych-fuzz-rock soundtrack was composed in prison by musician and actor Bobby Beausoleil: Charles Manson Family associate and murderer currently serving life…how much more intense could it get?? Check out the video after the jump.
Oh Seung Yul’s noodles may look delicious and edible, but in reality they are complex, hyper-realistic resin sculptures. The Korean noodles dangle 12-feet tall with an actual chopstick fixed to the top. Everything is articulated, from the individual noodles to the carrots and clams. Yul has considered even the gesture of slurping this food. He has colored the noodle mass in such a way that you feel a rush of broth dripping from the chopsticks.
You can marvel at the sculptures for their craft as well as attach a narrative to them. Who is tall enough to hold that chopstick? What kind of person owns that decorative floral platter? The work exaggerated size lends itself well to a whimsical interpretation. It’s still without feeling stiff and impeccably realistic. Yul’s work tricks the viewer, but ultimately reward them with something that’s extremely considered and tediously constructed. (Via My Modern Met)
Sam Falconer is a freelance illustrator based in the UK, whose portraits of famous figures such as Jack Nicholson and Bette Davis mix textures, patterns and colours in a playful manner. Many of the collage renderings evoke the work of John Baldessari in a quirky play on pop imagery. More after the jump.
Sculptor Beth Cavener Stichter carves dramatic, expressive human-size animals from clay which exhibit the extremes of human characteristics and emotions. She has goats, wolves, lambs, snakes and rabbits display acts of greed, betrayal and jealousy. Using the malleable nature of clay, Stichter produces wonderfully sensitive pieces loaded with drama and theatricality.
In her latest series Four Humors, she takes a theory developed by the Ancient Greeks which describes what a psychologically healthy human body should look like. The Four Humors were black bile, yellow bile, phlegm and blood. If a body had too much of any of these substances, then that would correspond to a personality deficiency. Stichter says she was intrigued that people could be evaluated solely by the amount of liquid they contained in their bodies. Stichter explores multiple base theories and ideas in her work. She goes on to say:
There are primitive animal instincts in our own depths, waiting for the chance to slide past a conscious moment. The sculptures I create focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface they embody the impacts of aggression, territorial desires, isolation, and pack mentality. (Source)
See if you can recognize yourself in more of her sculptures after the jump. (Via Art Fucks Me)
This video was a collaboration between Terri Timely Studios and PACT. Terri Timely is the awarding-winning directing duo of Ian Kibbey and Corey Creasy.
Anna Garforth is a graphic designer and illustrator working from London. Her inspiration from the “plant life that pushes and grows its way through all the cracks in the concrete,” has led to some amazing works including plant life and moss.
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.