New York-based photographer Alison Brady makes some pretty bizarre photos. Pretty and bizarre. The interesting and different perspective is what catches your eye; instead of a traditional beauty-in-the-person snap, these portraits give the car-accident-look- away urge while simultaneously pushing a strange narrative inside a beautiful anonmity. Take a look after the leap.
Fed up with the shame surrounding their periods, the Spanish performance collective Sangre Menstrual took over the public streets in sets of white pants stained with menstrual blood. This performance artwork was politically motivated; as the group writes in their “Manifesto for the Visibility of the Period,” the taboo surrounding menstruation serves to oppress women and reinforce patriarchal systems.
By making a public display of their shedding uterine linings, the group hopes to reclaim the female body and free normal bodily functions from shame and judgement. Since the earliest books of the bible and before, menstruation has been viewed as unclean, and often women have even been kept separate from men during their periods. Sangre Menstrual, whose name literally translates to “menstrual blood,” intends to change all that. In their manifesto, the group of women write, “I stain [my pants], and it doesn’t make me sick. I stain [my pants] and I don’t find it disgusting.”
The implications of Sangre Menstrual’s street performance extend beyond menstruation and into larger debates surrounding reproduction and the female body. Like the feminist artist Barbara Kruger and her legendary print “Your Body Is A Battlefield,” the blood-stained performance aims to present the body as a political act of defiance. The manifesto states, “the visibility of the period [is meant] to increase the visibility of the body, as political space.” Do patriarchal, sexist institutions persist in part because of the repulsion with which we treat menstruation? Is this work of art a groundbreaking innovation or a silly shock tactic? (via BUST)
Christina Mrozik is a modern day Audobon following in the footsteps of other talented contemporary painters such as Tiffany Bozic. but what separates Mrozik from the rest is the quiet darkness that looms around each and every one of her delicate paintings. Whether it’s vulture like birds with their beaks tied together or a partially skinned wolf guarding a cracked egg these paintings delve into the underbelly of the natural world with a surreal and macabre flare.
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.”
Retronaut recently posted a gallery of early Soviet-era Russian board game designs and illustrations. The images seem to be taken from a LiveJournal user by the name of babs71. You’ll find some seriously gorgeous propaganda here. The vintage illustrations depict workers young and old, soldiers bravely entering battle to defend the Motherland,and some nicely stylized industrial complexes. Find more hammer and sickle goodness after the jump.
This is a two part documentary post. If you intrigued by lady gangsters, drugs, and Miami Vice these are the documentaries for you…
The cocaine trade of the 70s and 80s had an indelible impact on contemporary Miami. Smugglers and distributors forever changed a once sleepy retirement community into one of the world’s most glamorous hot spots, the epicenter of a $20 billion annual business fed by Colombia’s Medellin cartel. By the early 80s, Miami’s tripled homicide rate had made it the murder capital of the country, for which a Time cover story dubbed the city “Paradise Lost.” With COCAINE COWBOYS, filmmaker Billy Corben – whose first feature Raw Deal: A Question Of Consent, caused a sensation at the 2001 Sundance Film Festival – paints a dazzling portrait of a cultural explosion that still echoes as Hollywood myth, evidenced by the latest manifestation, NBC/Universal’s Miami Vice, opening July 28th. Composer of the original “Miami Vice” theme, Jan Hammer, provides the score.