Would you eat a blue chicken? What about an unidentifiable purple sauce? In Lawrie Brown’sColored Food Series, dishes are outlandishly unnatural colors that appear unappetizing to some and edible to others. This is the point of Brown’s work, and they explain in an artist statement:
These photographs comment on the social, visual and psychological aspects of food. I am involved in a photographic investigation of what food people eat, what those foods materially consist of, what they look like, and what statements foods make about our society. Of concern to me is what food actually looks like photographically and how it psychologically affects the viewer when isolated within its natural context.
My photographs of typical table settings of food outwardly evoke in the viewer either delight and acceptance or repulsion and rejection. The response that occurs depends on:
The awareness of the viewer to the actual or imagined taste of the subject or to the actual or imagined content of the food.
The individual psychological response to the colors presented.
Although you may look at this and be disgusted, Brown’s foods don’t seem worse than the artificially colored and flavored fruit gummies (for example) on the shelves now. So, if you’re not grossed out by these images, perhaps it’s from years of Gusher’s Fruit Snacks that’s desensitized you. (Via Flavorwire)
In a powerful series by artist and curator Rachel Graves, she interprets the catcalls and street harassment that’s thrown at her and her friends when in public places. Menagerie is a collection of self portraits that liken this lewd and unwanted treatment to the way that animals are prey.
“The project came about as a way for me to take control of what was happening and find a way to answer back and gain ownership over myself again,” Graves explained to The Huffington Post. “For me it was important to do more than simply dress up and paint my face to represent some of the names and insults being thrown at me. I didn’t want to just turn myself into the object that the harassers saw me as. I wanted to find a way to get my sense of self back, to be able to throw the words away and take back control.”
“Bird,” “fox,” and “bitch,” are all references to animals (and ones that women are called) that dehumanize people, and are all costumes that Graves wears. She paints ghoulish-looking makeup and fashions snouts that reflect the identity of what she is to her taunters. Afterwards, she washes herself of these oppressive masks.
“Being a woman in a public space can be a scary thing. Some men perceive women’s bodies as being public property, and act in ways that are intimidating and sexually aggressive. When I experience street harassment, my autonomy and control over my own body is taken away from me,” Graves says, again to The Huffington Post. “A similar thing can be seen in the industrialization of farming practices. Animals and women are objectified in similar ways: seen merely as pieces of meat for public consumption.”
By washing away the paint and taking off the noses, Graves regains her own identity. (via The Huffington Post)
French art director and photographer Patrice Letarnec combines his two talents when he devised this cleverly simplistic photoseries. Having his subjects switch their top and bottom clothes, Letarnec then has them stand on their hands, walking about upside down on their daily routes. Thus the title of the series, Head Over Heels, which is taken quite literally.
The results are subjects which look familiar at first, until a general unease sets in to the missing head, arms which are too long, and legs that are far too short. The orangutan-like subjects are more comedic than disconcerting, another win for Letarnec’s eye (who also deserves a bit of credit for finding subjects who can balance on their hands so well while blindfolded).
Photographers James and Karla Murray spent ten years documenting New York City’s ever-evolving storefronts, and recently published their decade-long project into the popular book, Store Front: The Disappearing Face of New York. Of the project, the photographers say, “STORE FRONT provides an irreplaceable window to the rich cultural experience of New York City as seen through its neighborhood shops.”
The strength of the series is found in it’s wide-lens, capturing a time when opening a small business in New York was actually a viable option, and comparing that to the gentrified and corporatized Manhattan of today. This can be seen in vivid and stark contrast in photos like the Delightful Coffee Shop in Harlem being replaced by a ubiquitous Dunkin’ Donuts (above). Many of storefronts shows lost clients due to the ever-increasing rent, business which remain empty today, which has a depressing, darkening effect on the people who still remain in the community. James Murray says of the idea behind the series, “until you place them side-by-side and really look at the two photos, you cannot get the true sense of loss experienced by the neighborhood.”
If you’ve ever paused a movie when a character is in mid sentence, you’ve probably encountered some unflattering-looking pauses. Photographer Julia Peirone‘s series More Than Violet is comprised of these moments. Young female subjects are caught rolling their eyes, twirling their hair, and playing with their jewelry, all with faces contorted in conversation. The images are simultaneously awkward and amusing as we see teenage girls acting in a stereotypical fashion.
To achieve these small moments, Peirone shot hundreds of frames and selected ones that signify a not-a-child but not-a-woman moment. Their clothing, hairstyles, and colorful choice in makeup show their youth. It’s also their mannerisms that give their age away, where they are trying to act confident but are still in the dreaded teenager phase where you look younger than you mentally feel.
More Than Violet is a revealing series of portraiture that captures the uncertainty and uncomfortableness of being looked at and getting your picture taken. Considering that we are so defined by our peer group, these photos offer a truthful look at how we navigate between trying to find our true selves and the self that is “cool.” (Via Feature Shoot)
If you’ve ever been in a mostly empty mall, you know how strange it can feel to walk among a space that’s only half alive. But what about when a mall is completely abandoned? That’s even more surreal. As more and more of these once-booming retail centers close, the Dead Malls Enthusiast Facebook group has mapped many of them throughout America. Adventurous photographers have captured the aftermath of of these departed spaces.
Many of these abandoned malls were built in the 1970’s and 1980’s, and it shows. The interiors and decor look dated, tacky, and claustrophobic compared to the open-air shopping that’s popular today. Some have fared better structurally than others. Photographs depict buildings that’ve been closed for years and have demolished ceilings and broken glass. Many of the malls have dead plants that have long since lost their leaves.
These abandoned places are apocalyptic and frightening. But at the same time, they pique our curiosity and we wish were there exploring for ourselves. (Via Buzzfeed)
Cats often get a bad reputation because of their strange, idiosyncratic ways and moody temperaments, but are nowhere near as misunderstood and misjudged as the metal music community. A new book, Metal Cats by Alexandra Crockett, looks to change both of these stereotypes simultaneously, and show both Metalheads and feline’s cuddly sides.
From a feature on Bored Panda, “The people posing in these photos represent bands with names that are anything but cuddly – Napalm Death, Cattle Decapitation, Murder Construct, Skeletonwitch and Lightning Swords Of Death. But despite these fearsome band names and their black leather, spikes, tattoos and muscles, it’s clear that they share a close relationship with their loveable animals just like the rest of us.”
The musicians featured are also playing a series of benefit concerts at four cities along the United States’ west coast, with proceeds (as well as a portion of the book’s sales) going to no-kill animal shelters at each respective city visited. (via boredpanda)
Los Angeles-based photographer Jonpaul Douglass gives us a glimpse into the secret lives of pizzas in his series Pizza in the Wild. These strange and amusing images are just that – perfectly-shaped pies that are alone in this crazy world, draping themselves over street signs, satellite dishes, and even a pony.
These photographs were inspired by a graffitied image of pizza that Douglass saw in his neighborhood. He was tickled by the sight and decided to replicate it using the real deal, but wanted a very specific type of pizza. It had to be the quintessential pie, like the one the Teenage Mutant Ninja Turtles would devour. Douglass found the perfect pizza in the form of Little Caesar’s $5 pepperoni pizzas.
All told, Douglass has gone through 20 pizzas or so in his series. In an interview with Global Yodel, he reveals that some are better kept than others:
Much of time I will pick up two pizzas and then after I run around town photographing them I will put them in my fridge in case I get another opportunity If you look at the series you can see that some pizzas are fresh and some look to be days old. This works because some situations call for a floppy pizza and some call for a stiff pizza. I also must admit that there has been times where a used pizza gets eaten anyhow, it’s tough to ride around with a freshly baked pizza and not be tempted. (Via Neatorama and Global Yodel)