I love this project, and I love Yasmina Alaoui. 1001 Dreams.
I love this project, and I love Yasmina Alaoui. 1001 Dreams.
I love when I discover new *stuff*. I certainly spend enough time just jumping from tab to new tab in my browser… If I spent this much time actually working my career might be in a different condition… (-;
But back on point: CLITERACY. How did we live without it till now????
Sophia Wallace is an American conceptual artist whose topics include queer representations and the of gendering of aesthetics. I really love her work and recommend spending an inordinate amount of time on her beautiful website.
But this post is all about Cliteracy, which can be found on her Tumblr:
This is some of the most beautiful insect photography I’ve seen.
Reblogged from SeaWay Blog
By Guido Trombetta on 12:01 PM Animals, Photos
Who says you have to be a size minus to do a beautiful ballet leg extension?
Canadian photographer François Brunelle photographed a series of people who look uncannily alike. His subjects are not related, and are in fact total strangers. The series, photographed in countries around the world, is entitled, ‘I’m Not a Look-Alike!’, and is the result of the photographer’s obsession with the idea that everyone on earth has a doppelganger.
Not all the pairings were successful in my view, but some are OMG quality. Here’s a sampling.
My favorite photographer of the day, Dina Goldstein, features her latest project, which follows B, a “superdoll” and K, her partner in their home life…
That’s just a teaser. Check out the whole story line on the project site.
(And if you missed it, check out the post about the project through which I discovered Goldstein, Fallen Princesses.)
If you followed my blog in its earlier days, you know what I think about young girls’ increasing obsession with princesses, and how Disney Princesses distort their image and expectations of themselves, of life, of relationships, of their sexuality… Everything.
That’s why I was so thrilled to discover Dina Goldstein, my favorite photographer (today). I saw her Snow White photograph from her Fallen Princesses series on Facebook, sans credit as is common there. Today I finally put together the name with the photography, and what a discovery that was!
Here is Goldstein’s description of the project and some of the pictures from the series, but I truly recommend you browse her website. It’s gorgeous.
“These works place Fairy Tale characters in modern day scenarios. In all of the images the Princess is placed in an environment that articulates her conflict. The ‘…happily ever after’ is replaced with a realistic outcome and addresses current issues.
The project was inspired by my observation of three-year-old girls, who were developing an interest in Disney’s Fairy tales. As a new mother I have been able to get a close up look at the phenomenon of young girls fascinated with Princesses and their desire to dress up like them. The Disney versions almost always have sad beginning, with an overbearing female villain, and the end is predictably a happy one. The Prince usually saves the day and makes the victimized young beauty into a Princess.
As a young girl, growing up abroad, I was not exposed to fairy tales. These new discoveries lead to my fascination with the origins of Fairy tales. I explored the original Brothers Grimm stories and found that they have very dark and sometimes gruesome aspects, many of which were changed by Disney. I began to imagine Disney’s perfect Princesses juxtaposed with real issues affecting women around me, such as illness, addiction and self-image issues.
See my other Dina Goldstein post: In The Dollhouse.
The Freedom Theatre performs in Nabi Saleh. By Bryan MacCormack.
Mohammed returned to the central square of his village in a small caravan of cars with his friends. Their horns were blaring. This wasn’t a usual night in Nabi Saleh: Half of its 500 inhabitants were already out in the square, surrounding a makeshift stage of lights and speakers. His friends dragged him out of the car and through the crowd, toward the lights. The crowd chanted “Freedom!” and then found their way into a song that declares against the jailer, “I will love the dark.” There was a play already underway, and suddenly it was about him — and, by extension, the nearly three-year-old struggle of his entire village.
That night in late September, after two weeks in an Israeli jail, Mohammed came home during a stop of the Freedom Bus. This nine-day tour through the West Bank was the work of the Freedom Theatre, based a few hours north (on a day without checkpoints) at the refugee camp in Jenin. In Nabi Saleh, to an audience of villagers and foreign supporters traveling on the bus, actors from the Freedom Theatre were doing Playback Theatre — hearing stories from people in the audience and turning them into improvised skits.
Urged into taking a microphone, Mohammed described what had happened to him, and what has happened to so many others in Nabi Saleh. Israeli soldiers raided his home in the middle of the night, tore it apart and took him away for interrogation. He was forced to remain standing for hours at a time while blindfolded and hurled with insults. As the actors reenacted Mohammed’s story, his friends shot fireworks overhead.
Mohammed, who looked to be in his early 20s, earned his detention simply by doing what people in Nabi Saleh have been doing since late 2009: demonstrating after Friday prayers, every single week, against land grabs by the nearby Israeli settlement of Halamish.
His arrest is only one of more than a hundred that villagers have suffered since the protests began, including young children. Throughout, houses have been burned, windows have been broken, furniture has been smashed. “We want to make these demonstrations stop,” an Israeli intelligence officer told Mohammed.
Bassem Tamimi is at the forefront of organizing the campaign in Nabi Saleh, his home. He is in his mid-40s, and four years of his life have been spent in Israeli jails. Israelis killed his sister and have arrested each of his children. His face is narrow, with a peppery moustache and dark wrinkles. He looks a little like George Orwell. “We decide to resist because we believe that our destiny is not to accept the occupation,” he said. Nabi Saleh’s strategy comes as a response to the experience of the Second Intifada of more than a decade ago, he says, when Israel was able to justify brutal repression by branding Palestinian armed resistance as terrorism in the international media.
“We don’t want our society to turn to violent resistance in the future,” he explained, “not because our enemy does not deserve it, but because we don’t want to hurt our issue.” Their goal is to create a model of resistance that will spread to other Palestinian communities — and it already has. “We don’t want to go to an academic workshop and talk about violence and nonviolence and Gandhi. No — don’t talk about nonviolence, do it. We’re going to do it on the ground to convince everyone.”
After Friday afternoon prayers each week, the villagers begin a march to the land confiscated from them by the nearby Israeli settlement. Together they approach the inevitable line of soldiers, who inevitably deploy a combination of tear gas, flash grenades, noxious “Skunk” spray, rubber bullets and live ammunition. Some villagers react by throwing rocks while others run. Repeat, week after week.
“They will not give us a rose because we are resisting,” Bassem Tamimi said. “We do not expect that they will welcome us, and we are not welcoming them.” A relative of his, Mustafa Tamimi, was killed last year after being hit in the face by a tear gas canister. Mustafa owned the land with a spring on it that the village had depended on and that the settlement had taken.
A Freedom Theatre actor talks with a boy in Nabi Saleh. By Bryan MacCormick.
Resistance has thus become a way of life for everyone in Nabi Saleh. A point is made of including women and children alongside men. The effects of the fight are therefore visible among villagers of all ages, both men and women: missing fingers, scars and chemical burns. “We know that women are half of our society and half of our power,” Tamimi explained. As for the children, “We want to strengthen them, to make them strong to face the enemy in the future.” One little boy, I was told, had a special talent for throwing tear gas canisters back to from where they came.
During the Freedom Theatre’s show, one women told of being arrested by Israeli soldiers while her children tried to pull her away. Another watched the actors recreate the day that she had to push her daughter out a window after soldiers fired tear gas into her house. A grandmother said that she goes to sleep early since most nights she can expect to be woken up by an Israeli raid.
Balil Tamimi — Tamimi is a common family name in town — has taken on the job of documenting the protests. He looks about Bassem’s age and wears thick bifocal glasses. After the Freedom Theatre finished its performance, clips of video taken by him and others were projected on a wall, with scenes of tear gas canons on armored vehicles and soldiers shooting their rifles. It showed the fence that villagers have made out of spent tear gas canisters.
“From the beginning we realized that the media is one of the most important things,” Balil told me. “We use it in our demonstration to reach the world, to reach people, to tell them what has happened in our village.”
Video projected on a wall in Nabi Saleh. By Bryan MacCormick.
The Israeli human rights organization B’Tselem gave him a camera soon after the campaign began, and he uploads his videos to the Internet. They’ve helped attract support from international media and the European Union. Now, in many of the demonstrations, supporters from Israel and abroad stand alongside the villagers. Their target is the mentality of occupation and control, of land grabs and night raids. When that is gone, the people of Nabi Saleh might be willing to welcome their new neighbors.
“If we change our thinking, we can live together,” said Bassem Tamimi. “But they want to control our lives. Life is freedom. If you lose your freedom, you lose everything.”
At the end of the Playback rendition of Mohammed’s story, as is customary in the genre, the actors held their arms toward him with their palms facing up. The visitors on the Freedom Bus were applauding along with the villagers. The actors asked him whether what they had done was right — if they’d captured his experience or if he had anything else to add.
“I have a beautiful feeling,” Mohammed said into the microphone, which echoed his voice against the buildings of the village. “Thank you very much.”
As the Freedom Bus pulled away from Nabi Saleh and on to the maze of roads Palestinian vehicles are allowed to travel on, it passed a corner of the Halamish settlement. Behind the fences and the gate, one could see a group of settlers serenely gathered in a circle under a single streetlight. They were not soldiers with guns, nor were they innocents. It was just a momentary glimpse, and it might have seemed sentimental if it did not come at such a cost.
We’ve seen many ugly shoes in our day, but a new pair dubbed “Scary Beautiful” is definitely the most treacherous footwear we’ve ever seen. The massive heels appear backwards on the foot, so the wearers feet point straight down the back, as if in ballet shoes, with their shin leaning against the front “heel” end of the design to balance. The shoes are a collaboration between artist Leanie van der Vyver and Dutch shoe designer René van den Berg, and serve as a commentary on today’s impossible standards of beauty.
Van der Vyver is South African, and recently graduated from the Gerrit Rietveld Academie in Amsterdam. We spotted “Crazy Beautiful” on her website, cargocollective.com, and reached out to her for the inside scoop.
“After working in fashion for seven years, and therefore being well aware of the manipulation images in fashion suffer for a perfect result, I still compare myself to them and other current beauty ideals,” Van der Vyver told Yahoo! Shine exclusively. “My frustration with my own inability to overcome these feelings of inadequacy was what brought ‘Scary Beautiful’ into fruition. The shoes formed part of my graduation project that was a result of my thesis. The conclusion of my thesis investigation was that people are not satisfied with what they look like, and that perfection, according to the beauty and fashion standards, has reached a climax. Humans are playing God by physically and metaphorically perfecting themselves. Beauty is currently at an all time climax, allowing this project to explore what lies beyond perfection. Scary Beautiful challenges current beauty ideals by inflicting an unexpected new beauty standard.”
A model wearing the Scary Beautiful shoes.
Photo by Lyall Coburn
Unsurprisingly, Van der Vyver’s “Scary Beautiful” shoes were nominated for a design prize at Gerrit Rietveld Academie. Jury members Barbara Visser, visual artist and Xander Karskens, and curator of De Hallen had this to say about the shoes:
“The object created by Leanie expands the concept of a shoe into multiple new meanings. The beautifully made leather object is accompanied by a video registration of a girl wearing it. One observes the design forcing the wearer to develop a new way of walking, leaning forward while refining a painfully fragile balance. The jury applauds the way aesthetics, ergonomics and prosthesis merge into an awkward choreography. The craftsmanship and strong conceptual way of designing also show in another work, a ceramic tea set in which reference is made to a building in South Africa. Leanie succeeds in translating political consciousness into form and is considered by the jury to be a meaningful future designer.”
Alexander McQueen’s spring 2010 Armadillo heels.
Photo by Antonio de Moraes Barros Filho/Getty Images
We find the clip shocking but also oddly moving. The shoes are obviously not practical, but as art they’re intriguing. We can’t help but be reminded of Lady Gaga trying to steady herself in the now-famous Alexander McQueen “Armadillo” heels in her “Bad Romance” music video. Major models like Abbey Lee Kershaw, Natasha Poly, and Sasha Pivovarova reportedly refused to wear the 12-inch McQueen heels out of fear, and were cut from the designer’s spring 2010 fashion show. In comparison, the “Scary Beautiful” shoes make the “Armadillo” heels look like sneakers, but we had a feeling the always-outdoing-herself Lady Gaga would give them a spin one day. Sure enough, Van der Vyver confirmed our suspicions.
“Yes, on request I did actually send them to Studio Formichetti for a Lady Gaga music video, but I could not get confirmation whether she actually used them,” Van der Vyver told us. “I did not charge for her to possibly use them. I would love to sell them to a gallery.”
We’re holding out for the “Scary Beautiful” shoes to appear in an upcoming Lady Gaga music video, but until then Van der Vyver is back home in Cape Town starting her own studio where she’ll continue investigating fashion and beauty. We’re anticipating her next creation.
Check out a video below of a model walking verrry slowly in the “Scary Beautiful” shoes.
From Rhiannon Schneiderman's photography blog:
The Lady Manes is a series of eight self-portraits. In each image I’m standing in your typical feminine pose in an outfit or article of clothing, and I’ve accessorized each outfit with its own unique, stylized ‘Lady Mane.’ A ‘Lady Mane’ is just a somewhat empowering pseudonym for a bunch of pubes, a “bush,” your “hair down there”… And that’s what the series was about for me: empowerment. I can’t really pinpoint any one source of inspiration for the project because it really was a culmination of so many things going on at the time; I’d moved to and lived in Daytona Beach, the armpit of Florida and possibly all of civilization, for almost two years (for school) during which time I’d witnessed and been subject to some pretty amazingly sexist ordeals. I was moving more into my hardcore feminist phase, which I think every lesbian in their 20’s goes through, and just so happened to have a hardcore feminist, fine-arts-major professor who had been giving me a semester of the most intense and life-altering class critiques I’d ever experienced. I’d been introduced to Cass Bird’s “Rewilding”, an amazing body of work that continues to influence me. All of these things, and maybe a few Lady Gaga songs, were inspiration enough to create a series that kind of laughed at conventional gender norms. I wanted to tell people that they were ridiculous, makethem uncomfortable for a change. I wanted to challenge femininity and the objectification of women that is still so incredibly prevalent in society. I guess it was my way of saying, “Fuck you. Enough is enough.”