“Your staff are the nicest pooch lovers in the world. Penny, my precious little wiener…is looking forward to her next stay.”
“Quality of toilet paper could be better…3-ply minimum…otherwise it was a great room and enjoyable stay.”
“I had just given an unflattering review to a volatile pop star’s latest album and heard through the grapevine he was staying at the hotel. I was certain he was going to exact some kind of revenge…after many anxious phone calls…one of your staff kindly offered to stay up with me until I calmed down.”
For the holidays, the Standard Hotels produced a 2014 calendar that details a look back at 2013. In a collaboration with advertising agency and publisher KesselsKramer, the hotel chain reviewed and recreated moments from 2013’s favorite guest letters, comments, and special requests. From all of the bizarre things they had received throughout the year, they narrowed it down to 12 that were reenacted by the hotels’ staff.
If you’ve ever worked in the retail or service industry, you know how weird or picky some people can be. The comments and requests that the Standard Hotels receive is no different. One customer claimed their TV was possessed. Another believed that the hot tub had melted their prescription lenses. One guest was a music journalist (directly above) so anxious about recent scathing review he published that hotel staff stayed to keep him company until he calmed down. He was very appreciative.
In the midst of the holiday season, with record cold temperatures in parts of the world and Winter Solstice, the shortest day/longest night of the year, upon us, I’ve been spending time studying work made with a simple organic material: Ice. Truth be told, despite spending my childhood in Minnesota, I now live in the desert, and the only ice I see is in my drinking glass. After studying art works made with ice as a central material, I am struck by a number of repeated inclinations by a number of artists. Much of the works I present here demonstrate that the transitory and temporal qualities of ice lend it to meaningful works about the body, time, climate, a sense of place and elements of endurance. Though this list is in no way exhaustive, artists included are: Marina Abramovic, Jay Atherton and Cy Keener, Nele Azavedo, Kirsten Justesen, Greatest Hits (a collective), Julie Rrap and Tavares Strachan. Read More >
West Virginia: Bobby has five minutes left on his shift in the coal mine. Just enough time to dig a little deeper.
Washington: We can only close our eyes using clothespins.
Texas: Rounding up little doggies who have lost their way.
Maryland: Today the crabs decided to have a picnic of their own.
Canadian Photographer Jeff Friesen uses the iconic Legos to build dioramas that he later photographs. In the series 50 States of Legos, Friesen satirizes each state in the United States using the toy’s characters, blocks, and accessories. Scenes are set against colorful backdrops like mountains, beaches, and grassy lands. Some include aliens, cowboys,and even historic figures like George Washington.
Each state has their own legacy or a reputation for something. Friesen plays on these associations and includes witty captions that accompany them. I live in Maryland, for instance, where eating crabs is a cherished pastime. Friesen pokes fun at this, turning crabs against a couple trying to boil a crab. Other places receive the same, if not more over-the-top treatment. Alaska features a Yet fishing with an Eskimo. A cowboy in New Mexico is prodded by an alien. There is a dragon in the mines of West Virginia. Friesen’s series is a light-hearted look at the states, which are made even more amusing the more time you spend with them and their details. (Via Honestly WTF)
Photographer Shanna Allyn is the master of a universe where women are covered in kittens, faces are obscured with food, and they have eyes like a cartoon character. Her series, Strange Beautiful, is, not surprisingly, strange. This coupled with Allyn’s style of photography (which seems less focused on technical aspect and more on documentation) takes the viewer through a bizarre world where there are more questions than answers.
In a statement about her work written by T. Martin Crouse, co-founder of the publisher Sic Semper Serpent, he describes it as, “The use of quirky objects combined with the locations and postures of her models creates a sense of surrealism. Out of place props in a variety of lateral interpretations have a strong effect.” Later, he goes on to say, “In Shanna’s universe of tampon cigarettes and hotdog mouthpieces, who really has control?” That statement itself is absurd and captures the essence of what Allyn is trying to do. These photographs record what goes on in her world, which is comprised mostly of a group of women with cartoonish eyes. They wear them as a mask, allowing them to look unaffected and apathetic. Nothing phases them, and we don’t immediately understand their motivations.
I see Allyn as a documentarian, capturing images that aren’t full of tension or sadness, but just show a day in the life of Strange Beautiful. The emotions that these models don’t show is compensated by our associations to objects in the images and content she presents.
Brian Moss, opened a gym in 1982. Better Bodies Gym, located in the heart of NYC, attracted bodybuilders from all over,and ever since 1997, Moss has casually photographed the leading competitors in the bodybuilding and fitness world.
The photographs are part of an on going series, a personal project, that gives insights to the bodybuilder’s life. Moss’ black and white portraits and action shots go beyond the bodybuilders’ physical appearance, and instead accentuates the human side of this ‘superficial’ business.
My images are unguarded, honest and voyeuristic. Whether they capture backstage scenes at the Mr. Olympia or private moments in a hotel room hours before the competitor steps out on stage, these images are imbued with an intimacy that had never been seen before.
Moss’ photographs have become very iconic, and they have influenced the way bodybuilders are currently portrayed in advertisements and mass media in general.
There is something intanglibly familiar about Korean artist Lee Jeong Lok‘s photoseries “Tree of Life”. Perhaps it is the beautiful, postcard-quality of the surroundings, or that Lee has truly tapped into a cross-cultural metaphor for the spiritual in using an illuminated tree as a subject. Lee has mentioned in previous interviews that he considers himself a deeply religious person, and attempts to give his photographs a palpable sense of spirituality. Says Lee,
“I tried to depict emotions and spiritual imagination in that the sceneries inspired rather than recreated the scenery itself. … Every myth talks about another world that we believe co-exists with the real world we look at and live in. The other world has a powerful presence that we cannot see.”
Lee, who grew up in the Korean countryside, often depicts an intimate bond with nature in his work. In his Tree of Life photoseries, the photographer admits to using installation, sets, scenes and digital manipulation to create his constructed scenes of illuminated trees in spiritually-emotive surroundings. Lee continues,
“But it is very important to me that my end product is photography. I believe there exists another, invisible world within the world we can see with our eyes. If I were to draw an image of this parallel universe, it would become a mere fantastical illustration. However, by using photography the end result is very different; it retains the essence of our experience of reality, while simultaneously conveying a sense of the hidden realm that exists therein.”
Artists are magicians in their own right for making something from nothing, for infusing the everyday mundane tools and objects with poetic meaning and creating a whole new experience from it. In the holiday season, with a good part of society taking part in excess shopping, people are becoming increasingly conscious of what we discard. Our relationship to the accumulation of stuff and the level of waste humans produce seems to be collectively shifting. The artists whose work is shared here: David Ellis, Vik Muniz, Gabriel Kuri, Song Dong, Tim Noble and Sue Webster demonstrate the way individual artistic voices arise from this consciousness and the beautiful and often magical work that is informed by our accumulated or discarded stuff. Read More >
Holiday, Vissarion sect, City of the Sun, Krasnoyarsk Territory, 2006
Koryak foothills, Kamchatka, 2000
Newlyweds, suburbs of Novosibirsk, November 2010
A new photography exhibition at the American University Museum wants to show you that Siberia is more than just a cold, barren place. Titled Siberia in the Eyes of Russian Photographers, it paints the Russian region in a different light. Photographs boast impressive landscapes and even some warm weather; We see children swimming and people wearing short-sleeved shirts. Anton Fedyashin, the executive director of the Initiative for Russian Culture at American University, spoke with Slate about stereotypes of Siberia. “Notions of Siberia in the United States come from Hollywood,” he said. “They come from films that emphasize the morbid exoticism of Siberia, the endless white plains, the sparse villages. Those are the kinds of images that are most widespread in the West. Of course, Siberia during winter does look like that, but there’s another side of the story.”
Siberia makes up about 75 perfect of Russia’s landmass, but only 25 percent of its population. The people who live there are described as having an independent spirit, much like pioneers who settled in the American West during the 19th century. The exhibition draws comparisons between the two places. “It’s an image that overemphasizes the negative aspects of this enormous part of the Eurasian continent and one that completely underrepresents the enormous geographical variety, which is breathtakingly beautiful. The exhibit shows that it’s equally as beautiful and eerily similar to the American West.” Fedyashin explains. While many Western photographers chose to accentuate the emptiness of Siberia, the Russian photographers in this exhibition depict a multifaceted place, spanning from the 1860′s to 2011. (Via Slate)