Designer Nickolay Lamm has designed a “Normal Barbie,” who has the same body issues as “regular” people. This doll, called Lammily, comes with stickers to show acne, tattoos, stretch marks, and other imperfections that make us (and her) human. Now, before you rush out and buy one for every child in your life, it’s probable this design is tongue-in-cheek, and questionable how much kids will enjoy it at first.
However, it is a good barometer to measure ourselves against. Barbie- the old school Barbie I had growing up- embodies the idea of perfection, one that is fed to children at a very young age and subconsciously produces vast feelings of inadequacy and the idea that woman should measure up to specific proportions, proportions that aren’t even attainable. Everyone knows that Barbie’s curves cannot exist on a real human’s body. So why do we form her that way? What role models are we giving our children and what does that say about our society? Food for thought.
Here is some more about Lammily:
“A sticker pack that comes with the doll allows kids to apply all the sorts of skin imperfections that real people have, teaching kids that they don’t have to aspire to or value the unrealistic body images promoted by Barbie or Ken dolls. And, judging by the reactions of the 2nd-graders Lamm showed his doll to, the message has been received with open arms!”
KIM KEEVER’s large-scale photographs are created by meticulously constructing miniature topographies in a 200-gallon tank, which is then filled with water. These dioramas of fictitious environments are brought to life with colored lights and the dispersal of pigment, producing ephemeral atmospheres that he must quickly capture with his large-format camera.
One may find the concepts explored in Ward Roberts’Billions series confronting, given that the images within this series represent a fast-forming reality, predicted to be the dystopian future not so long ago. But the present is never perceived as the future we envisaged in the past. We move along the arrrow of time as stationary observers, watching the world transform before our very eyes, yet rarely aware of our transition into ‘the future’.
Billions removes us from this stationary reality for a brief moment, lifting us to the surface for air. From this detached place, these images allow us to see our world, yet we feel neither comfortable nor uncomfortable about it. We find the challenges of cognitive mapping, the loss of individualism, that theorists like Fredric Jameson were concerned with. But we seem not to feel alarm. Perhaps we have evolved along with our ideas, with our effects on the world and its dynamic entropy. Our minds have unconsciously integrated what was, through past eyes, a forecast of chaos. In our times, the concept of a billion no longer overwhelms us. As these photographs show us, we can stay solid and identify connectedness between floating transparencies. We now recognize a new kind of whole. It is a work that allows you to recognize your world and your place within it that is truly effective.
The other day I swung by the studio of photographer Kelly Barrie. Kelly’s artistic process is one of the more bizarre and unique methods I’ve seen in quite a while. It involves multiple photos, a darkroom squeegee, photo luminescent pigment, and Kelly’s feet. Intrigued? Click on the handy “Read More” button to find out how Kelly creates photo magic with a lil help from his feet.
In Mongolia, where the weight of tradition and Soviet rule still hang heavy, it is considered dangerously taboo to be a homosexual. Gays, lesbians, and transsexuals must keep their identities secret, often secluding themselves or participating in prostitution, in an attempt to safeguard their lives against violence and discrimination. In 2011, photographer Álvaro Laiz decided to capture the secret lives of these Mongolians in his series “Transmongolian.” Laiz initially traveled to Mongolia because he was interested in how the country’s newly opened borders affected the population, with the tradition of Mongolian culture meeting with Western influences from the outside. His research led him to connections with transgender individuals whose stories he decided to document with his photography.
Laiz captures these ostracized Monogolians conducting their day-today lives alongside images of them in traditional Mongolian queen costumes. Laiz’s Mongolian series is the first of a larger project exploring transgender people in societies across the world. (via huffington post)
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)
The Singapore-based fashion designer Grace Ciao first started using flower petals in her illustrations when a boy gave her a rose; sad to see the gift wither and die, she incorporated it into a sketch of of a cocktail dress. Soon, the 22-year-old designer began using flowers in all of her creations, from party dresses to bridal gowns. From a single rose stem, she can create up to six separate designs.
The multidimensionality of the petals lends Ciao’s designs a unique and vibrant range; shadow and curve work together to flatter and accentuate the human body. The artist prefers to use flowers that contain within them a multitude of shades and tones; from their natural coloration, she can divine innovative prints and patterns. The garment and the floral organism dictate one another’s movements and structure; a falling yellow petal forms a ruffled embellishment or a bold one-shoulder sleeve, and the white ends of a tulip are layered exquisitely.
Ciao has a unique talent for making all colors, textures, and shapes look appealing and extravagant; an inexpensive carnation and a pricey orchid create equally luxurious garments. One can only imagine that as the petals wilt and eventually die, the garments go through a magical metamorphosis, transforming from fire-engine red to blood red and ultimately to a deep burgundy. As we move into summer, Ciao’s work is a delightful tribute to the ever-changing seasons and to the cycle of life and death. We cannot wait to see what she has in store as new flowers come into bloom. (via Demilked and Buzzfeed)