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Sorry, We're Not Sorry: The 20 Things Women Should No Longer Have To Apologize For | Elite Daily
As women we are taught to apologize for a lot of things that don’t warrant having to ask for forgiveness. Why should we have to say sorry?
n a rare and unconventional application of an artistic medium, dutch artist diddo has sculpted a full-scale representation of a human skull out of street cocaine. 'ecce animal’ has been meticulously crafted from the illegal powdery drug, formed in the same proportions and mimicking the biological characteristics as its skeletal source of reference.
to verify the purity of the accumulated narcotic, the artist sent his materials off to a research lab who analyzed and determined its ingredients – the findings revealed that it was, in fact, cocaine, yet ‘further constituent components identified included phenacetin, caffeine, paracetamol and a relative large percentage of sugars.' the sculpture intends to provoke thought and conversation about the nature of man, particularly our participation in society and the tension it often shares with our genetic makeup. an accompanying poem by diddo delves into the intended interpretations and conclusions one might take away from this piece.
the color inside’ is the eighty-fourth skyspace created by james turrell, a series which sees the renowned american artist using light and space as the mediums in experiential and continuously changing artworks. the new installation situated on the roof of the student activity center at the university of texas at austin – the latest project from landmarks – invites the public into the luminous and ethereal environment turrell has created. for the 25 viewers that can situate comfortably inside the white-plaster walls of the elliptical volume, a shifting sequence of sky, sun, and chromatic saturation becomes visible through a gaping void at the structure’s crown. the black basalt bench lining the reclining walls seat those who gaze upwards, where a morphing arrangement of pink, purple, white, green and yellow LED lights are unleashed onto the ceiling. as the sun sets and rises, the ever-transitioning display of hues seen through the circular aperture both dramatically contrast, and strikingly match the projected colors. the celestial and dynamic performance embodies turrell’s creative vision, as he has said, ‘I’ve always wanted to make a light that looks like the light you see in your dream’.
I still can’t get over the fact this is a sculpture on the floor and not a car submerged in milk
ONE-TO-ONE BY CAROLINE SLOTTE
Caroline Slotte created the series ‘One-to-One’, featuring a set of objects that are supposed to look like two things at once or rather two materials at once. We simultaneously recognize the objects as plastic, metal or paper and wood— an impossibility that plays with our perception.
The tensions between the recognizable and the enigmatic, the ordinary and the unexpected are recurring thematic concerns in Caroline Slotte’s artistic work. Some of the her recent explorations like the ‘One-to-One’ series depart from an interest in material perception and material recognition, teasing out situations where the initial visual identification fails resulting in an unsettling state of material confusion.
Marriage bed by Edwina Sandys
SeyoCizmic
Leo Tolstoy
Yoko Ono
Dialogues II
Naia del Castillo
Nancy White
Does love really has to hurt? According to artist David Catá it obviously does. The Spanish artist uses his body as a canvas, writing an autobiographical diary. In his ongoing series ‘A Flor De Piel’, he embroiders portraits of people who have influenced or marked his life – family, friends, teachers, lovers, partners – sewn into the palm of his hand.
‘Their lives have been interwoven with mine to build my history’, Catá explains. ‘Every moment lived stays in the memory to finally be forgotten. Somehow, this fact is painful, since there are only material things and traces that people leave behind’. The woven flesh work establishes a symbiosis between union, separation, pain and love, a performatic and symbolic action of loss and preserves the memories through memorial, corporal and videographic footprints.
Caroline Mackintosh’s latest personal work centers itself around the re-construction of natural environments through composition and light-manipulation. Her series ‘Metallurgy’, features landscapes around Cape Town, South Africa (her place of birth and current base) and uses mirrors to create juxtaposing portals of warped light – resulting in the beautiful and surreal images of the collection.
When asked about how she creates this unique and eerie viewing experience, she replies: ‘The idea was to highlight the loneliness of the landscapes by establishing the mirror-portals as separate, almost sentient, entities and placing them to hover in isolation, as though forever experiencing an alternate perspective’
The subject of Randall Rosenthal’s artwork at times seem inconsequential. Stacks of old newspapers and magazines, a comic book collection in a cardboard box, envelopes stuffed with various stacks of currency. And then you discover that you’re really looking at only two things: a single piece of Vermont white pine and skillfully applied acrylic paint. These are the only materials Rosenthal requires to mimic the look and feel of flimsy newsprint, worn trading cards, translucent pieces of tape and deteriorating cardboard boxes. What’s all the more amazing is that he doesn’t work from a photograph or model, but instead creates each object as he goes, using only an image in his mind as a guide.
After graduating from the Carnegie Institute of Technology in the late 1960s Rosenthal opened his first exhibition of surrealist paintings, a direction he pursued until the late 80s. His focus then shifted to architectural design and next into the realist sculptures he creates today. You can read more about his process and inspiration in this recent interview in rh+artmagazine.
HOLY SHITBALLS.
