John Mulaney standup
Created by artist Kohei Nawa (previously here and here) for the 2013 Aichi Triennale, Foam is an immsersive cloud-like installation made from huge plumes of amorphous bubbles, meant to mimic a bleak primordial landscape. Nawa is known for his explorations of cellular forms as seen in his extensive series of PixCellsculptures where animal forms are covered in glass beads, and Foam seems to be a natural extension of this. All images courtesy SANDWICH and the 2013 Aichi Triennale.
Polish artists Sainer and Bezt, collectively known as Etam Cru, paint large scale murals of surreal and frequently humerous subjects in locations mostly around Eastern Europe. The duo traveled to the U.S. this year to paint a wildly popular mural titled Moonshine at the Richmond Mural Project depicting a girl sitting inside a jar of strawberries. The piece is now available as a print over on Art Whino. Above is a collection of their most recent work from 2013, much more of which you can see on Facebook, the Etam Cru blog, and on Behance. (viaArrested Motion)
Untitled (Ice Cream Sandwich) by Tom Slaughter
Warhol - Kiss (1963)
DRUNNNKKK IN LOVEEEEEE
we be all nighttttt LOOOVEEEE
LOOVVEEEEE
we be all night LOOOVEE
LOVEEEEEE
dianna molzan
Kohei Yoshiyuki - The Park
“Taken in Tokyo’s Shinjuku, Yoyogi and Aoyama parks during the 1970s, Yoshiyuki used a 35mm camera, infrared film and flash to document the people who gathered there at night for clandestine trysts, as well as the many spectators lurking in the bushes who watched—and sometimes participated in—these couplings.
With their raw, snapshot-like quality, these images not only uncover the hidden sexual exploits of their subjects but also serve as a chronicle of a Japan we rarely see; as Martin Parr wrote, The Park is ‘a brilliant piece of social documentation, capturing perfectly the loneliness, sadness and desperation that so often accompany sexual or human relationships in a metropolis like Tokyo.’”
I just love black and white photographs.
“Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, traditionally employed to represent femininity and applying it to the expression of it’s opposite, I hope to challenge the pre-conceived notion that ‘women’s work’ is light and easy. Aiming to represent the effects of hard work arising from employment in low paid ancillary jobs such as cleaning, caring, and catering, all traditionally considered to be ‘women’s work’”
Eliza Bennett
A woman’s work is never done
2011
Flesh, thread