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red: artists/art
blue: exhibitions
yellow: books/text
green: media/film
purple: random media

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Wow!! Amazing performance artist working with BODY and FAMOUS ART WORKS!
“Performance + Plastic surgeries = Transformation and Re-incarnation = Carnal Art

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love this colour story!!!

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info on how to carry out photography technique i want to use.

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The cyclical world of beauty has us constantly drawing inspiration from the past. And this season's lit-from-within makeup totally channels Hollywood's Golden Age.

Models strutted down the Spring 2015 runways of Opening Ceremony and Rag & Bone wearing healthy, luminous skin. Meanwhile, beauty brands like Too Faced and Clinique are tapping into this trend with new foundation and bronzers that make it easy to recreate the looks that recall Rita Hayworth, Dorothy Dandridge and Marlene Dietrich.

As Becca Cosmetics style director Kerry Cole recently told The Huffington Post, there was more to those iconic complexions than just strategically placed face powder. Cinematographers used Vaseline to achieve a soft, dreamy aesthetic.

Travis John Hoffman, a cinematographer and professor at the New York Film Academy, said that this technique was used early on in the film industry. "Vaseline or other substances would be rubbed on the lens or an optical flat (clear piece of glass which sits in front of lens) to give a halation or glowing effect," he said. "That being said, makeup and lighting also played and still do play a crucial role no matter how much filtration is added."

Today, this technique is considered obsolete, crude or experimental, according to Hoffman. "Most of the time I see students in film school trying this technique for experimental purposes. You can also get a similar effect from putting a women's leg stocking over the lens," he said.

Hoffman credits the evolution of technology for providing cinematographers with more filter options to attain that "classic Hollywood look." And thankfully, we've discovered some new makeup formulas so you don't have to overdo it when trying to bring out your features.

Shop our editors' picks below!

beauty tricks Style hplifestyle beauty hacks cinematography

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The Vaseline Trick That Gave Old Hollywood Actresses Their Glow

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The cyclical world of beauty has us constantly drawing inspiration from the past. And this season's lit-from-within makeup totally channels Hollywood's Golden Age. Models strutted down the Spring 2015 runways of Opening Ceremony and Rag & Bone wearing healthy, luminous skin.

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more info on how to take "80's" images

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Here are several ways to recreate some of the iconic looks from portrait shots in the '80s, including the beloved soap opera glow effect.

No matter what era you were born in, there are certain images and styles that have endured, and they inspire creatives to take what was once old and make it new again. One of our creative trends for 2019, called Yesterday's Tomorrow, is packed with retrofuturistic 1980s imagery. I'm talking bright neon and pastel colors, palm trees, light grids, and gradients. You can see a lot of similarities in this trend to popular characteristics of photography today. Whether it's duotones or shooting on film, history has a way of repeating itself - and thank goodness it does! One of the aspects of photography that makes it so fun is replicating your favorite styles and looks. So here we are. Let's take a look at some of the most striking imagery from the '80s and recreate it.

Heavenly Soap Opera Glow

This is my favorite look from this time period. The hair was huge, and the lighting was soft. To get the "hazy-soft" look, I stuck a gel in front of the lens. The temperature of the gel depends on the hue you want. But with the gel in front of the lens, you get a diffused look in the image. I set up two heavily diffused lights as her key and fill, then threw on a red gel and a very light blue gel. Once I brought the image into Lightroom, I used the Brush tool to increase the exposure on her face, adding some warmth that gives it a glow. Then I lowered the contrast, increasing the highlights. Once you've done this, you can add a dark or light vignette. (I chose to go dark for this sample image.)

Neon Backgrounds

This is peak '80s. A bland backdrop with some cheesy pink neon lights - because nothing is cooler than lasers. It's just a fact. So to pull this effect off, make sure you have a blank background in your photo. For this example, I lit the subject with a green gel - that way the green lasers I added later would look like they were shining on her face.

So, bring the photo into Photoshop. Click on the Pen tool, then set the mode to Shape, fill to None and stroke to White.

Then draw whatever shapes you want in the background. Hit the Layer Style icon, and choose Outer Glow. From here, you can pick your color. This will be whichever color you want for the glow effect around the shape. You can test out the most popular colors of the year, which happen to be neon.

Once you've hit OK, you can play around with opacity, spread, size, etc. These determine how wide and powerful the glow is. Next, move over to Inner Glow and pick the color. Then set the Blend Mode to Multiply and hit OK.

Now right-click on the Smart Layer and hit "Convert to Smart Object." Once you've done this, add a Vector Mask by clicking the small button next to "Add a Layer Style." Then move back over to the Paint Brush, make sure your opacity is at 100% and your foreground color is black. Paint the shape, eliminating it over your subject. You should be left with your lasers in the background, perfectly fitted around the subject.

Duotone Techniques

Duotone is a very '80s-inspired aesthetic - as long as the colors you're using match the traditional look. (We recently put out a monster of a blog post with all the various colors and hex codes you need to find neon retro-styled colors.)

Pulling off a duotone effect starts with lighting your portrait correctly. First, light the subject with the appropriate contrasting colors, then bring the picture into Photoshop. Click "Create a new fill or adjustment layer" button down below your layers. Then select "Gradient." From here, you can set the gradient to go in any direction; then pick your color. Repeat this step, and pick your second color. Once you've done this, set the blend mode for each of these layers to "Color." In the video, I throw on an overlay, too. (If you'd like a couple free overlays for your photos, download them here.)

Practical Effects

One unconventional look for this '80s-inspired shoot involves using transparent objects that bend the light in interesting ways. I simply held a clear battery package up to the lens, and this created a distorted lighting effect. You can do this with anything really. I also used a prism, a water glass, and a mirror. Just find something to bend the light and play with it to bring up insane flares and effects in camera.

Interested in the free assets I used to make this video?

How about the sound track?

And if you need some '80s video clips, here are the ones I used.

Interested in more photography tips and tricks? Check these out.

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Tutorial: How to Get the '80s Aesthetic in Your Photos

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No matter what era you were born in, there are certain images and styles that have endured, and they inspire creatives to take what was once old and make it new again. One of our creative trends for 2019, called Yesterday's Tomorrow, is packed with retrofuturistic 1980s imagery.

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BETTER THAN PARIS IS BURNING! very casual talk about ball culture, colour is amazing i think it was filmed on a film camera

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Paris is Burning   Deleted Scenes Outtakes

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interesting article with cool artists using craft techniques

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All good metaphors must come to an end, though. Charlie Brown got his first kiss in a 1977 television special. It took craft quite a bit longer, but look around today, and you would hardly know that a hierarchy had ever existed. Things changed first for ceramics, with a bellwether exhibition titled " Makers and Modelers: Works in Ceramic" at Gladstone Gallery, in 2007. Hot on its heels was " Dirt on Delight: Impulses That Form Clay," curated by Ingrid Schaffner and Jenelle Porter at the ICA Philadelphia. And then, suddenly, ceramics seemed to be everywhere: at the fairs, in the galleries, and on auction blocks. Voulkos underwent a dramatic reappraisal-in 2017, his monumental sculpture Rondena (1958) smashed his auction record when it sold for $915,000, or nearly double its high estimate, at a Phillips evening sale-as did others in his circle, like

and

(the latter is the subject of a new solo show at Gagosian).

Paralleling this phenomenon has been an enthusiasm for fiber art. To a degree not seen since their brief moment of popularity in the late 1960s-coincident with the rise of the counterculture-artists like

and Françoise Grossen have been garnering widespread acclaim. Porter followed up "Dirt on Delight" with her major project " Fiber: Sculpture 1960-Present,"which opened at the ICA Boston in 2014. In 2019, 's full-dress retrospective at Tate Modern was a surprise blockbuster; Frieze London devoted its new curated, thematic section to woven art; and the knitted sculptures of

reached peak popularity: She was made into a Google Doodle.

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All good metaphors must come to an end, though. Charlie Brown got his first kiss in a 1977 television special. It took craft quite a bit longer, but look around today, and you would hardly know that a hierarchy had ever existed.

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not a fan of the colour palette but interesting technique, could do something like this with patchwork.

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i looooooooooooove this!
need to try wrapping work in ribbon/fabric, i love the difference in dimension between the two fabrics.

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Pioneering fiber artist Sheila Hicks blurs the boundary between painting and sculpture with her vibrant woven and textile works, which she creates in many shapes and sizes, from wall mountings that mimic the format of painting to suspended pieces that hang from ceiling to floor like textured columns. Hicks studied at Yale under the famed color theorist Josef Albers and was encouraged by Albers’ textile artist wife, Anni, to travel and investigate the artisanal fabrics of Colombia, Chile, Peru, and Bolivia, experiences that proved formative to Hicks’ artistic development. Her use of “domestic” mediums differed radically from the rigid industrial techniques of the Minimalists and hard edges of the abstract painters prominent amongst her contemporaries; Hicks is closely aligned with Eva Hesse, her fellow student and fellow innovator of sculpture made from soft, atypical materials.

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Ragnhild Hjalmarsdottir Højgaard‘s artistic and design practice rethinks the use and potential of Faroese wool. Through an exploration of traditional craftsmanship alongside new materials and methods, Højgaard offers viewers with a strong sense of tactility and materiality. These notions are demonstrated in her series ‘5’ which uses natural, un-dyed Faroese wool and places focus on the material and texture of the wool as well as the method of their creation.

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With a background in graphic design, architecture, and textile, Nathalie Van der Massen explores the possibilities of textiles within architectural spaces. In relation to textile as craft, she is interested in the intersection between mechanical industrial production and technical craftsmanship, making use of experimental technical practices in her own work. In her experimental piece “Avalon”, Van der Massen emphasises tactility through the combination of materials and technical industrial production. Combined, the weaving process and her use of Mohair create a consciously textured and “misty” surface that speaks to her interest in natural materials, tactile surfaces, and traditional craftsmanship.

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Founded in 2015 by Elif Gönensay, Ethnicloom intertwines the heritage and tradition of weaving with the creation of luxury weaves and accessories. Gönensay drew on her interest in textile, pattern, and design to ultimately bring the product and fabrication process together. In doing so, focus is placed on the craft itself with the craftsmanship of the Anatolian artisans highlighted through unique weaving techniques and collaboration. Ethnicloom’s work includes “Sedirette” which makes use of traditional weaving techniques, producing a multitude of tactile textures and creating an engaging visual impression.

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These  objects may seem surreal when first encountered and to say that they defy gravity would be a clichéd understatement. Creating vessels with a series of limitations, for example, a 10 kg limit of clay or no glazing, he pushes his material and his art form to its outer most limits. These ceramic vessels exist in a state of constant struggle and turmoil, or so it may seem. His works balance on the edge of podiums, stand high off the ground on self welded stilts or stacked on top of each other, resulting in the feeling that just the slightest wrong breath may cause every one of the fragile works to fall shattering to the ground. The works of art can be appreciated for their beauty in terms of form and texture or their power to command such strong energy in a space and within viewers, either way, their presence speaks for itself.

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Taking inspiration from the craft traditions found in her native Brazil, Nepomuceno brilliantly weaves together commonplace materials and items to create abstract, large-scale creations.
here is an untitled work from 2013 made from nylon, jute ropes, plastic, glass, metal, beads, bricks, and more.

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Mixing architecture with interior design, Taylor's work highlights the corrosive effects nature can have both at home and in the context of larger societal and environmental concerns.
i like how it fits into the enviroment!

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Krogh is no ordinary textile artist. Instead of typical thread filaments, she weaves her masterpieces using flexible, transparent glass strands. As light penetrates her tapestries, the visual display and color combinations magically change.

so beautiful with a cool colour palette

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Using patchworking techniques to make whimsical jewelry from makrofol – a material found in bike helmets and solar panels – John's designs are both colorful and innovative.

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My Gods 1994 is a ceramic vase by the British artist Grayson Perry that depicts four large figures, each presented in their own white vignette set within the green glaze of the vase’s surface. These characters each represent one of the four ‘Gods’ referred to in the title. One of them is labelled ‘Doreen, the god of cleanliness and vengeance’, who strangles a small, pale-skinned boy wearing a t-shirt that reads ‘childhood ends in divorce’, reaching out her serpent’s tongue towards him while holding a spray can labelled ‘anal: things have to be clean’...

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aesthetic of crafts!!

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has 1 paper download 1

Short abstract:

"Do craft have aesthetics?" This panel examines the relationship between the body, material, idea and object in the production of craft and domestic artefacts. Anthropological insights will help us to know the aesthetics of craft that emerge from peoples' engagement with these agencies.

Long abstract:

"Do craft have aesthetics?" Through exploring this question this panel examines the relationships between the body, material, idea and object in the production of craft and domestic artefacts. This requires an exploration of the relationship between art and craft, between ideas and bodily practices and the social relationships involved in 'hand-making' and other kinds of artefacts.

The panel will address the interplay of material and cognitive operations in production processes, and how these emerge through peoples' involvement with the various social and cultural agencies that constitute community dynamics. These are environment, religion, folk culture, tools and technology etc; community networks and communities of practice; interventions by government and non-government organizations; and local and global markets.

Globalization, modernization and commoditization affect production of crafts in significant ways, and aesthetics of craft manifest in a variety of social and cultural experiences, thereby contributing to understand these processes in turn. How social and cultural transformation, such as those experienced during current globalization, may impact upon craft aesthetics? How this in-turn may affect or constitute the making and unmaking of communities? An aesthetic of craft may thus be constitutive of its own moral and political economy of 'preservation', promotion and sustenance, and have significance for core anthropological concerns, such as the relationships between production and consumption, local distinctiveness and homogenization, continuity and change. Anthropological insights will help us to know the aesthetics of craft through the above mentioned agencies that constitute the larger social world of craftsmen, anthropologists, craft-activists, and connoisseurs cum consumers.

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P08: The aesthetics of craft: explorations in the anthropology of craft production

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"Do craft have aesthetics?" This panel examines the relationship between the body, material, idea and object in the production of craft and domestic artefacts. Anthropological insights will help us to know the aesthetics of craft that emerge from peoples' engagement with these agencies.

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Once confronted with the new furniture project Primo Blanco by Ayala Serfaty this spring, I was seized by instant enthusiasm. Before I had the chance to realize that the pieces were made of felt, I had already found their similarity to a specific type of furniture from the sixties and seventies. This somewhat chubby upholstery furniture kind of resembled layers of sausage formations and in my opinion Serfaty accomplished a magnificent persiflage with this new interpretation. Obviously this connotation came to be, due to my recent activities: I was in the middle of setting up the exhibition new olds at the Design Museum Holon and checking nearly every design object for alleged connections to earlier exhibits in design history. And Serfaty's grey felt armchairs reminded me of exactly those bulging upholstery formations seen for example in Joe Colombo's Elda Lounge Chair from 1963. After having spoken to Ayala Serfaty I realized that she had had something completely different in mind other than to create a "postmodern" reminiscence of shiny happy modeling frenzies.

http://www.dmh.org.il/magazine/magazine.aspx?IssuesId=5&id=107

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interesting article researching everything im interested in.... will be researching references soon.

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https://crafthouston.org/exhibition/beyond-useful-beautiful-rethinking-domestic-craft/

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https://research.brighton.ac.uk/en/publications/hand-made-tales-women-and-domestic-crafts

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Kathleen Ryan reimagines rotten fruit in a collection of grotesque-yet-gorgeous sculptures. The pieces, carved from foam and ranging between one and three feet in diameter, depict lemons, oranges, peaches, and pears in the midst of decay—a fact indicated by her use of glittering semi-precious stones. The tiny materials are used like dabs of pigment in a Pointillist-style painting, and blue-green gems, dark orange baubles, and white stones mimic the mold we might find in a neglected fruit bowl. And as if there was any other doubt, Ryan has aptly titled her series Bad Fruit.

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Locke first began to incorporate strings of beads into his work after seeing the frayed tapestries on the walls of once-stately European homes. Their dangling threads especially interested him. “In [my] wall drawings, the beads act as equivalents to broken threads,” he says. “The shape of the shadows cast by the beads is very important, animating and enlivening them.”

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Blending the abstract, geometric tradition of Kiowa beadwork with the more pictorial style of the Shoshone, Greeves has developed her own visual language. She stitches beaded imagery to two- dimensional surfaces (as “paintings”) and to everyday objects from the non-Native world.

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Liza Lou is a contemporary American artist best known for her large-scale sculptures and installations. Her seminal work Kitchen (1991–1996), is a 168-square-foot replica of a complete kitchen festooned with glass beads. “Here is this monument to women’s work, to the labor that is uncelebrated, to the mothers and grandmothers who baked pies, and cooked and sowed but yet are never thanked, the labor that is endless,” she explained of the work.

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Joyce J. Scott, the possibilities of glass beads are endless. She uses beads to tell stories, raise challenging social and political issues, and celebrate her mother. A quilt artist, Elizabeth Talford Scott (1916-2011), taught her daughter to sew with beads when she was five years old.
Lynching, domestic violence, and racial stereotypes are all fair game for Scott, who also invokes wit and irony in her work. “The things that give me a hard time. The things that I am interested in. The things that pressure me and that give me great release are the things that I really want to talk about. They are the reasons why I make the art a lot of times,”

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Style Guide: Kat Stratford (10 Things I hate About You)

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Why you need to know the work of Audre Lorde

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Audre Lorde’s “The Master’s Tools will never Dismantle the Master’s House”

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There is no hierarchy of oppressions
using this in my source review, beautifully spoken and interesting

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Audre Lorde - There Is No Hierarchy Of Oppressions

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ASMR 99.99% of You Will SLEEP, Relax and Tingle 3Hr(No Talking)

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Joyce Growing Thunder Fogarty (born 1950) is a Native American artist. She is of the Assiniboine Sioux, Dakota people, and is known for her beadwork and quillwork. She creates traditional Northern Plains regalia. The Smithsonian named her as "one of the West's most highly regarded beadworkers"

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Catch up with our Studio Visits & DES Debates

Catch up with our Zoom journeys to studios and workshops across Scotland & beyond. Listen to Harry Morgan talk about working with glass & concrete. Hear from Laura Aldridge & James Rigler on their collaboration to design a drinking fountain for DES. Meet Rachel Adams & hear about her brilliant new lighting project Urpflanze. Head to the Devon studio of artist Tania Kovats, who shares insights into the making of WELL, a drinking fountain commissioned by DES in 2019. Hear from Chalk Plaster & their explorations into colour pigment & oyster shells from their studio in Fife. Listen to Frances Priest discuss her ceramic work from her Edinburgh studio. Enjoy hearing from Mirrl's Simon Harlow & Lewis Harley about their sense of adventure & the joy of collaborating with London-based designer, Adam Nathaniel Furman who joins the discussion.

Listen to DES Debates - click on links below

DES Debates offers rousing words on timely issues. Bringing together contemporary designers, energetic thinkers and a wide public audience, DES Debates are our annual celebration of conversation, discourse and discussion.

Launched in 2018, our inaugural Debates saw celebrated designer Max Lamb share his thoughts on materials, process and making with fellow designer, Geoff Mann, senior lecturer at Manchester School of Art. They were joined by writer, curator & podcaster Grant Gibson who discussed the Dutch design landscape with Annemartine van Kesteren, curator at Boijmans Museum, Rotterdam and designer & educator Ineke Hans.

DES Debates are led by Prof Chris Breward, formerly Director of Collection & Research, National Galleries of Scotland and now Director of the National Museums of Scotland. DES Debates are generously supported by the Embassy of the Netherlands, London.

Design in the Public Realm

Tessa Lynch whose site-specific public sculpture, Turns provides informal seating and climbing opportunities at Collective on Calton Hill, Edinburgh; Frances Priest, whose Tiled Corridor was recently unveiled at The Royal Edinburgh Hospital along with Tania Kovats and James Rigler who were commissioned by DES to created prototype drinking fountains, discuss design, function and the public realm. Led by DES curator Susanna Beaumont.

Dutch Design Landscape

Designer Don Yaw Kwaning; Wendy Plomp, founder of design collective Dutch Invertuals; Irene Fortuyn head of Man + Leisure at Design Academy Eindhoven and architect designer, Robert van Middendorp discuss material innovation, sustainability and the Dutch design landscape. Led by DES curator Susanna Beaumont.

Design + Production

Adam Nathaniel Furman and Mirrl's Simon Harlow, who debuted their HK collection at DES 2019; Alice Jacobs of Flux Studio, Glasgow and Stockholm-based designer Nick Ross discuss design, collaboration and production. Led by Helen Voce, Glasgow-based design & craft curator, whose recent projects include Tanween Design Programme, Tashkeel, Dubai, Cove Park on Scotland's west coast and the Crafts Council.

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Catch up . . with inspiring chats | Design Exhibition Scotland

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Catch up with our Studio Visits & DES Debates Catch up with our Zoom journeys to studios and workshops across Scotland & beyond. Listen to Harry Morgan talk about working with glass & concrete. Hear from Laura Aldridge & James Rigler on their collaboration to design a drinking fountain for DES.

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Memento mori

Memento mori (Latin 'remember that you [have to] die'[2]) is an artistic or symbolic reminder of the inevitability of death.

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a more morally correct way to document dead body for museum, its a cast

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a collection of club kid and documentarian Nelson Sullivan's home videos from the 80's club kid scene, he carries his VHS camera with him and gives us a view into a scene which is nearly lost now.
I really enjoy his casual documentation style-- pulling out a camera to record everyday actions was abnormal at the time but is normal now. Sullivan was before his time.

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research and reflection on the club kid scene from the 80's and 90's. deep research into life's which have been lost or forgotten.
has given me a good way to research my grandmothers life and is a good archive

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simple colour story making delicate work based on fantasy and human life

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Chemtrails Over The Country Club (album)

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Chemtrails Over The Country Club (album)

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Lana Del Rey
a reflection on Lana's life especially her younger years, a romanticisation of difficult memories which reminds me a lot of how i view my relationship with my grandmother now that she is ill.

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“My bed” 1998

Through the artists possessions we can gauge where she was in her life, her feelings and emotions. I feel I can also do this when collecting lost objects- I can feel the owners life through it as I hold a small part of their day in my hand. My own thoughts and feelings are also put onto the object through time, until I lose it and the cycle continues.

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Ode à l’oubli. 2002.

Fabric illustrated book with 35 compositions: 32 fabric collages, 2 with ink additions, and 3 lithographs (including cover), page (each approx.): overall: 11 x 12 3/16 x 1 ¾”
I loved that I could feel how personal this work was to her through the pages, pieces of her life stitched together over 6 months. This work made me consider how we create stories to go with work we see, Bourgeois seems to have an insight into this also with her stitched quote “I had a flashback of something that never existed” on one of the pages.

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The oyster’s our world, 2004

Wooden stepladder, mother of pearl, shell, coral, fresh water pearl, cultured pearls, white opal, diamond
81.3 x 38 x 58 cm

Putting something precious in an inconspicuous place.

The viewer may do a double take orhave  look very closely to understand it is something other than what they think. I wanted to adorn my room like how Collis adorned the everyday objects.

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"how do we know its finished?"
"at one point we stop"
i loved the colour story of this movie and the absence of the male gaze.
10/10 i want to create a video piece now.

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manipulating the body.. creating shapes with the body
I like the audio on this video too it’s like a long breath

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Variations V (1966) - Merce Cunningham Dance Company

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Salvador Dali- a soft self portrait 1969 

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Salvador Dali- a soft self portrait 1969 

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This is insane
So vivid and crazy... I love that Dali explored imagery in his work outside of what is normal in our world and I love the way this is filmed.
Feels very low budget and like a children’s tv show...
every scene could be a photograph they are so interesting

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Wow !! Did not know this existed I had such a small view of ballet

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TOTALLY DEHUMANISED! Simply shapes performing to music, so amazing I love this piece

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Amazing performance art I am so inspired !!!!
Love the costumes they are so inhuman and otherworldly I would love to try and emulate them in some way ... the audio is very interesting, it is a traditional orchestra and contrasts with the costumes a lot they feel as if they shouldn’t be together as we are so used to seeing ballerinas in normal outfits to emphasise their human figure, these obscure it !

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Triadisches Ballett von Oskar Schlemmer - Bauhaus (Best Quality)

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Made by the same artist as the last delete your Facebook video but with a different subject .. very weird to see these videos side by side it’s almost as if I shouldn’t be seeing it. The background hasn’t been put in yet, they haven’t added the background sounds ... something is off.

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DIGITAL PERFORMANCE ART
The way they speak feels like it’s from a script even though it’s normal speech.. the blank room around them is also interesting it’s like they’re in another universe or a weird waiting room .. not really on earth.

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Amazing movements! May try mimicking the exaggerated actions in my film work so it doesn’t really look like straight film

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1 AD - 800 AD
everyday creature carved in gold! preserved for so many years making it precious, i will work with metals in the future.
The dresses and funerary attires of the pre-Columbian elites were adorned with necklaces and other ornaments made of precious metals. Even though these are ornaments with small and delicate parts they are finely crafted to represent symbolic motifs in detail.

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The dresses and funerary attires of the pre-Columbian elites were adorned with necklaces and other ornaments made of precious metals. Even though these are ornaments with small and delicate parts they are finely crafted to represent symbolic motifs in detail. Human and divine figures, heads of snakes, felines and other animals, as well as other elements of nature are portrayed in necklaces, pendants, tiaras and bracelets, like the small toads represented in the beads of this gold necklace. (UH)

Las indumentarias y ajuares funerarios de las élites precolombinas estaban adornados con collares y otros adornos confeccionados en metales preciosos. Si bien se trata de ornamentos con piezas pequeñas y delicadas, están trabajados finamente para representar motivos simbólicos con detalle. En collares, colgajos, diademas y brazaletes podemos identificar personajes humanos y divinos, cabezas de serpientes, felinos, y otros animales, como los pequeños sapos representados en las cuentas de este collar de oro. (UH)

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Necklace with gold beads in the shape of toads ML100185 - Moche style - Google Arts & Culture

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The dresses and funerary attires of the pre-Columbian elites were adorned with necklaces and other ornaments made of precious metals. Even though these are ornaments with small and delicate parts they are finely crafted to represent symbolic motifs in detail.

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book illustrator (year?)
sweet illustrations of teddy bears doing mundane activities.. replacing the human body with inanimate objects..

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another childlike video artist with scarier undertones...
want to know how he makes them look like old broken VHS tapes and how i would do that. i like the animation overlay on drawing may be a good way to use otherwise discarded videos.

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I like his "almost human" piece with the sleeping baby, i assume it pulled a lot of emotions out of people as seeing it through the screen i just want to scoop the baby up and hold it.
this is very much the opposite of a baby.. it is made of steel and is not delicate and soft like what we know a baby to be

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Six tonnes of steel mesh, a gallery flooded with seawater, a body you could walk through and an experience like no other. Relive our 2019 Antony Gormley exhibition with behind-the-scenes videos, inspiration from the man himself and works from the show.

A sleeping baby greeted visitors to the RA in 2019, lying on the bare flagstones and dwarfed by the surrounding Annenberg Courtyard. The vulnerability of Antony Gormley's Iron Baby struck a particularly emotional chord in this landmark exhibition, which asked you to slow down and become aware of your own body.

Highlights included Clearing VII, an immersive 'drawing in space' made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling - challenging our perception of which way is up.

Read 10 works to know by Antony Gormley

Behind the scenes of the show

See how the exhibition was made - from poring over designs in Antony Gormley's studio, climbing on top of the Royal Academy's roof with the artist himself, and...munching through a lot of bread.

In this article the show's co-curator, Sarah Lea, takes us behind the scenes.

Exit through the RA Shop

Antony Gormley Hardback Catalogue

In this authoritative survey - featuring photography of current works installed at the Royal Academy - Priyamvada Natarajan, Michael Newman, Jeanette Winterson OBE, Martin Caiger-Smith explore the context and impact of Antony Gormley RA's work.

Buy now

Antony Gormley Sterling Silver Figure Pin

This sterling silver pin has been created specially by Antony Gormley for the Royal Academy of Arts.

Buy now

Antony Gormley Diary

This diary was created specially with Antony Gormley for the Royal Academy of Arts.

Featuring 42 images of Gormley's works, the diary is undated with 2 year planners at the front, 52 double-page weekly spreads for every week of the year, as well as 12 lined, dotted and blank pages at the back for note-taking and sketching.

Buy now

Support the RA

As an independent charity, we receive no revenue funding from the government. At this difficult time, we're reliant on the support of our Friends, visitors and online audiences. Thank you.

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Revisiting the exhibition: Antony Gormley | Blog | Royal Academy of Arts

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Six tonnes of steel mesh, a gallery flooded with seawater, a body you could walk through and an experience like no other. Relive our 2019 Antony Gormley exhibition with behind-the-scenes videos, inspiration from the man himself and works from the show.

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138-150 AD
The removal of the head removes the life from this sculpture, we can no longer tell her expression or feelings... the face is the most human part of us?
The goddess is depicted wrapped in a himation (cloak). She wears her aegis bordered with small snakes over the shoulders. She stands with her left hand resting on her hip and would have carried a spear in her (lost) right hand.

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David Goldes
imitation objects made for mesh people... wool objects for wool character?
INSPIRED BY ANOTHER ARTISTS WORK! PICASSO AND CEZZANE STILL LIFES

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Trained as a scientist at Harvard, David Goldes uses photography as a way to explore scientific phenomenon. In his close-up images of reflections, bubbles, fire, and electricity, which often call to mind scientific diagrams from earlier centuries, he finds joy and wonder in the mysteries of the physical world, presenting these simple concepts as vehicles for understanding perception, memory, and the process of discovery. In the series "Traces" (2005/9), he explores object and memory by creating ghostly impressions of objects that directly reference the work of Paul Cézanne -still life arrangements of apples and pitchers rendered in transparent mesh material.

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David Goldes | Mesh Objects (After Picasso #1) (2005) | Available for Sale | Artsy

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Trained as a scientist at Harvard, David Goldes uses photography as a way to explore scientific phenomenon. In his close-up images of reflections, bubbles, fire, and electricity, which often call to mind scientific diagrams from earlier centuries, he finds joy and wonder in the mysteries of the physical world, presenting these simple concepts as vehicles for understanding perception, memory, and the process of discovery.

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one animal masking as another while being controlled by another... what is it actually?

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Creepy Ghost Shark With Parasites | Nautilus Live

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i want my carved work to elicite the same feelings i have when i view very old, og art. something precious that must be protected. art for arts sake.

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another example of mock childrens tv show.. animated

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EXAMPLE of the work i want to do!!! mock childrens tv show with more of a sinister undertone... mine would not be sinister but simply a mock tv show. love that everything is soft touch.

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love this artists colours and the way he talks about his work..

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Sterling Ruby in conversation with Dirk Snauwaert

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this exhibition is beautiful and feels more personal than the Warhol one. these pieces are so detailed and remind me of the samplers i have been looking at.
would like to be able to see the details of this work in person but now seeing them in beautiful video is good

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it is weird to see work like this... feels very impersonal and weird for there to be no people in the gallery but i like this work and the journey through Warhol's life.

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This major retrospective is the first Warhol exhibition at Tate Modern for almost 20 years. As well as his iconic pop images of Marilyn Monroe, Coca-Cola and Campbell's soup cans, it includes works never seen before in the UK. Twenty-five works from his Ladies and Gentlemen series - portraits of black and Latinx drag queens and trans women - are shown for the first time in 30 years.

Exhibition Tour

Join curators Gregor Muir and Fiontán Moran as they discuss Warhol through the lens of the immigrant story, his LGBTQI identity and concerns with death and religion.

Popularly radical and radically popular, Warhol was an artist who reimagined what art could be in an age of immense social, political and technological change.

Explore the artist's life and career in these 12 rooms.

ROOM 1: ANDREW WARHOLA

Andy Warhol produced art at a time of immense social, political and technological change. This exhibition examines Warhol's subject matter, his experiments in media and the way he cultivated his public persona. It draws attention to Warhol's personal story and how his view of the world shaped his art.

Born in 1928 in the industrial town of Pittsburgh, Pennsylvania, Andrew Warhola was the third son of Andrej and Julia Warhola. His parents were Carpatho-Rusyn, and had emigrated from Miková, a mountain village in what is now Slovakia. Warhol was brought up Ruthenian Catholic, attending church throughout his life. Religious imagery and the glamour of Hollywood movies interested him from a young age. He would draw with his mother and took art lessons at his local museum. When Warhol's father died in 1942, he left his savings for his youngest child to go to college, where he studied pictorial design. In 1949, at the age of 21, Warhol moved to New York to work as a commercial illustrator. During this time, he permanently dropped the 'a' from his surname. His mother joined him in New York a few years later. She helped with his illustrations and lived with him until shortly before her death in 1972.

As a gay man growing up at a time when sex between men was illegal in the United States, Warhol embraced New York's queer community of designers, poets, dancers and artists. Warhol's first exhibitions in the 1950s featured line drawings of young men. Abstract expressionist art dominated the US art world. Warhol was considered too camp, or what some referred to as 'swish', and overly connected to the commercial world of advertising illustration to be a serious contender. It would take another decade before he found success as an artist

ROOM 2: SLEEP

From the start of his career, Warhol used his intimate personal relationships with people to create new ways of looking at the world. His first serious art film was Sleep, made over several nights in summer and autumn 1963 with a 16mm camera. The film shows 22 close-ups of the poet John Giorno, who was briefly Warhol's lover, as he sleeps in the nude. Warhol was fascinated by the ability of his friends to stay up for days on end while using drugs and wondered whether sleep would soon become obsolete.

Warhol shot around 50 reels of film for Sleep, each one lasting only three minutes. He edited them with Sarah Dalton, who recalled, 'he asked me to edit it, taking out bits where John moved too much - he wanted the movie to be without movement. I protested that I hadn't a clue how to edit, but he fished out an old moviola editing machine, showed me how it operated and so to work I went.' The final version repeats many scenes and lasts over five hours. It is projected in slow motion, giving a dream-like feel.

By documenting a single action with no dramatic narrative, Warhol turned film into something that could be treated like a painting hanging on the wall. John Giorno said that Warhol got round the homophobia of the art world 'by making the movie Sleep into an abstract painting: the body of a man as a field of light and shadow.'

Although he was a successful illustrator, Warhol still wanted to be taken seriously as an artist. Inspired by the new wave of art he saw in New York galleries, in 1960 he started making hand-painted pictures combining advertising imagery with expressive painting. This soon gave way to a clean graphic style now known as Pop Art. Warhol grew up eating watered-down ketchup with salt for soup. His images of consumer items such as Campbell's soup cans are rooted in his experience of an emerging aspirational culture, selling a dream of economic and social progress.

Warhol was eager to speed up the process of replicating his images, so in 1962 he adopted the commercial production technique of screenprinting. He began to use photographs from newspapers and magazines, often depicting traumatic scenes. Screenprinting meant he could reproduce photographs onto canvas multiple times. While the printing process removed the artist's hand, Warhol often allowed his screen to be over or under-inked. This created effects that disrupted the images. The face of film star Marilyn Monroe became almost mask-like, while the emotional impact of the news images in his Death and Disaster series was both emphasised and undermined. Some images, such as Pink Race Riot (Red Race Riot), which depicts peaceful civil rights campaigners being attacked by police, connected his work to broader social struggles and forced viewers to look at the world around them.

Warhol said creating pop art was 'being like a machine', as the process was often machine-like or mechanised. He then said, 'everybody should be a machine', as machines don't discriminate. If we were all machines then 'everybody should like everybody', whatever their gender. Warhol's open and fluid approach to his subject matter, to people, and the relationships between them, spoke to a decade of social change.

ROOM 4: The Factory

An important part of Warhol's fame was built through 'the Factory', which was an experimental art studio and a social space. Warhol set up the first Factory in 1963. After seeing his collaborator and former lover Billy Name's silver apartment, he asked him to cover the Factory with silver paint and foil. It was the setting for the mass production of his paintings and sculptures, and the site of Warhol's new interest in underground film making.

Warhol documented the people who passed through the Factory in his Screen Tests from 1964-6. Intended as film portraits, they emerged out of Warhol's Most Wanted Men series of paintings (on display in room 3). The title refers to the Hollywood convention of filming new faces to test their 'screen presence'. Warhol's subjects were simply left to be themselves. They sat in front of the camera with nothing to do but endure its gaze for the duration of the film reel.

Warhol and his collaborators made more than 500 films between 1963 and 1972. They ignored traditional methods of film making and were often unscripted. The films usually featured his 'superstars', a group of personalities who spent their time at the Factory. By the mid-1960s, the Factory scene had become a form of living artwork, as famous and as controversial as Warhol's paintings. Reflecting on this period, Warhol recalled how his 1965 exhibition in Philadelphia was so crowded the art had to be removed from the walls. He said it had become 'an art opening with no art! We weren't just at the art exhibit. We were the art exhibit.'

ROOM 5: SILVER CLOUDS

In 1965, at the height of his fame as an artist, Warhol announced his retirement from painting in favour of film making. He staged his farewell with an installation in a New York gallery the following year. One room consisted of nothing but wallpaper featuring a fluorescent pink cow. In the other, metallic silver balloons filled with helium floated through the gallery space and could be interacted with by the viewer. Titled Silver Clouds, they continued Warhol's association with silver: in the silver Factory, his silver paintings, and his silver-grey wig.

Warhol described Silver Clouds, made with engineer Billy Klüver, as 'paintings that float'. He wanted to upset conventional thinking about sculpture, specifically the dominance of minimalist art in the New York art scene at the time. This was an art based on order, mathematical precision and industrial materials. Instead, Warhol's installation emphasised fluidity, movement and participation.

In 1968, the avant-garde choreographer Merce Cunningham asked to feature Silver Clouds for a performance of his dance piece RainForest. Warhol suggested that the dancers perform nude. Cunningham did not adopt this idea and asked the artist Jasper Johns to make the costumes instead.

Warhol's Cow Wallpaper is installed in the exhibition café on this floor and in the Tate Kitchen on level 6.

ROOM 6: EXPLODING PLASTIC INEVITABLE (CURRENTLY CLOSED)

Working with members of the Factory, Warhol became interested in combining film with performance and music, expanding the idea of what cinema could be. In 1966 and 1967, he co-organised multimedia shows known as Andy Warhol's Uptight and later as the Exploding Plastic Inevitable or EPI. The shows used new technology that has now become standard practice in live music gigs.

EPI featured musical performances by the Velvet Underground and Nico. Warhol's films and still images were projected on top of each other. Coloured gels and strobe lights overlaid the projections, while Factory superstars, including Gerard Malanga and Mary Woronov danced with whips. The show managed to fascinate and alienate its audience. Velvet Underground singer Lou Reed described it as 'a show by and for freaks'. It went on to tour music venues and college campuses around the US, and reinforced Warhol's association with the counterculture.

Warhol also achieved his first commercial success in film at this time, with the release of The Chelsea Girls in 1966. This follows various 'characters', including 'Pope' Ondine, in and around New York's Chelsea Hotel, and is presented as a double-screen projection. The final section of the film was shot in colour at the Factory and features layers of coloured light projected over Warhol's superstars, which was also used for the EPI shows.

This room was designed by The Andy Warhol Museum, Pittsburgh to give an evocation of the EPI shows.

ROOM 7: THE SHOOTING

As well as being fascinated with new media, Warhol used printed matter as a promotional tool and a space for experimentation. He published magazines, posters, books and designed record covers. At the beginning of 1968, the Factory moved to a new site on Union Square, as the original building was to be demolished. Warhol said the 'silver' period was over, and 'we were into white now'. The new Factory had spaces dedicated to his magazine Interview and his film production.

On 3 June, the writer Valerie Solanas came to the Factory and shot Warhol, damaging his internal organs. Warhol was rushed to hospital and was declared clinically dead, but doctors managed to revive him. Solanas had been part of the Factory scene for a short time. She appeared in Warhol's 1967 film I, A Man and had given Warhol the script for her play Up Your Ass, which was mislaid. She told the police Warhol was stealing her ideas. Her SCUM manifesto called for an end to the male sex and to capitalist society.

The shooting brought increased scrutiny of Warhol's lifestyle and affected his physical and mental health for the rest of his life. He stopped the open-door policy of the Factory. He had trouble eating, had to wear a surgical corset, and became nervous around people he didn't know. Despite the trauma of the event, he agreed to pose for photographer Richard Avedon and once compared the stitches of his chest to a Yves Saint Laurent dress.

ROOM 8: BACK TO WORK

After the shooting, Warhol passed most of his directing on to Paul Morrissey, who had worked on Warhol's films since The Chelsea Girls. His business manager Fred Hughes sourced new portrait commissions from wealthy clients. These helped fund Interview magazine, edited by college graduate Bob Colacello, and ideas for TV shows, produced by Vincent Fremont. Warhol's studio turned from an open social space to one focused on what he called 'business art'. Warhol explained that 'making money is art, and working is art - and good business is the best art.'

Warhol also started a serious personal relationship at this time. Jed Johnson moved in with Warhol in 1968, and they lived together for twelve years. Johnson edited a number of the Warhol-Morrissey films and directed Bad 1977, the final film Warhol produced. Julia Warhola's ill health led to her return to Pittsburgh, and she died in 1972.

Warhol returned to painting in the 1970s with large-scale screen prints featuring a more expressive painting style and new subjects. He began with the Mao series in 1972, and continued exploring iconography with the Hammer and Sickle and Skull series of 1976. Warhol also experimented with other art forms. He vacuumed a gallery carpet as a performance and started his Factory Diaries: videos of life in the Factory and at home, including this tape of his mother Julia.

ROOM 9: LADIES AND GENTLEMEN

In 1975 Warhol produced a new series featuring anonymous Black and Latinx drag queens and trans women. Italian art dealer Luciano Anselmino commissioned the pictures and came up with the theatrical title Ladies and Gentlemen. This title implies Anselmino was less concerned with the lived experience of the models and more interested in the dramatisation of gender. The subjects were recruited via Warhol's friends and from local drag bars and posed for a fee.

Warhol took over 500 photographs of 14 models. A selection of these were enlarged onto silkscreens. The result was a large group of paintings that deviated from the original proposal in favour of an exploration of performance, glamour and personality. In a similar manner to other works he created at the time, Warhol used expressive brushmarks and finger painting to explore the relationship between the silkscreen layer and the painted background. His films featuring the superstars Mario Montez, Holly Woodlawn and Candy Darling show Warhol was interested in depictions of gender expression. However, there are questions around the ethics of this series: he documented a community he was not part of, with the subjects having little agency in how they were depicted or where the works would be shown.

Given the lack of representation of trans people in art, there has been renewed interest in the series and the identity of the sitters. This room features seven of the models across 25 paintings. It includes Marsha 'Pay it no mind' Johnson who was present at the Stonewall Uprising that ushered in the gay and trans rights movements, and Wilhelmina Ross. Both Johnson and Ross performed as part of the drag theatre company 'Hot Peaches', founded by Jimmy Camicia, in off-off-Broadway shows. Little is known about some of the other figures, perhaps a record of the discrimination faced by trans people, especially those of colour.

ROOM 10: EXPOSURES

By the 1970s, Warhol was himself an international celebrity. He was regularly photographed and took photographs at places such as the nightclub Studio 54, alongside public figures such as Grace Jones and Debbie Harry. Warhol famously went out every night, a condition he referred to as his 'social disease'. As well as giving his work publicity, Warhol's exposure enabled him to reinforce his distinctive public identity. Some US art critics dismissed his socialising and lucrative business of producing commissioned portraits for the rich and powerful as 'selling out'. However, such activities also helped finance his more experimental art practices.

These social networks of collaboration and bodily performance found their way into Warhol's new works, which were more explicitly based around the body. His Oxidation series from 1978 used human urine to oxidise metallic paint. The Torso series features male bodies, with some of the models recruited in gay bath houses by friends of Warhol, and brought back to the Factory to pose.

Warhol's experiments with video extended into television projects, co-produced with Vincent Fremont, where he could reach an even larger audience. In 1980, he premiered Andy Warhol's TV on a cable television network. He followed this in 1986 with Andy Warhol's Fifteen Minutes on MTV. It played on the artist's fame, his network of celebrities and his obsession with recording, which he had been doing since the mid 1960s. The programmes followed the format of his Interview magazine by presenting intimate conversations between stars.

ROOM 11: MORTAL COIL

As the 1980s progressed, Warhol's work featured more political and religious imagery. Although it wasn't deliberate, it reflected some of the major concerns of the time, including the Cold War between the US and the USSR and the escalating AIDS epidemic.

Warhol created images of the Statue of Liberty many times. It could be seen as the ultimate celebrity portrait. In Statue of Liberty (Fabis), Warhol laid military camouflage over this well-known symbol of freedom. The statue had personal meaning for Warhol. His family landed at Ellis Island, near to where Liberty stands, when they immigrated to the US. In this version, Warhol used a French biscuit tin lid, designed to commemorate the 100th anniversary of the statue arriving in New York as a gift from France. The Lenin series, created for a German gallery, saw Warhol return to the subject of communism and its most recognisable symbols.

Warhol had always used his own image in his art. In the 1980s, he created what came to be known as his 'fright wig' self-portraits for an exhibition in London. In earlier works, his wig was an integrated part of his appearance. In these pictures, his wig takes on the status of art. In contrast to his early self-portraits where he appeared aloof, in these works his gaunt face and intense expression convey the pain that he routinely suffered from since the shooting.

ROOM 12: THE LAST SUPPER

Faith, death and desire come together in Warhol's Sixty Last Suppers. This large-scale work forms part of a series commissioned in 1986 based on Leonardo da Vinci's Last Supper. This famous mural depicts Jesus the night before his crucifixion with the twelve disciples. A copy of the mural had hung in the Warhola family kitchen. Da Vinci's depiction has been damaged and repaired many times over the centuries. Warhol purposely used a cheap reproduction based on a 19th-century copy for his work. Choosing to copy a copy of the original, Warhol evokes the re-enactment of the Last Supper that takes place during every Mass. It also plays on the authenticity of da Vinci's Last Supper, with Warhol stating: 'It's a good picture... It's something you see all the time. You don't think about it.'

Unlike most of his paintings, Warhol's Last Supper series focuses on a group scene. The repetition of an image showing collective activity between men adds to the work's symbolism. It was created soon after the death of Warhol's former partner Jon Gould from an AIDS-related illness, and at a time when the private lives of gay men were facing the glare of the media. While Warhol was not a queer activist, Sixty Last Suppers could be seen as a moving portrayal of endless loss, reminiscent of 'columbarium', the wall graves found in many cemeteries.

Sixty Last Suppers would turn out to be one of Warhol's final works. After the first exhibition of the series in Milan, he returned to New York where he reluctantly checked in to hospital for gallbladder surgery. While the operation was a success, his long-term ill health led to his heart failing, and Warhol died on 22 February 1987, aged 58.

Andy Warhol is presented in The Eyal Ofer Galleries. This exhibition is in partnership with Bank of America. With additional support from the Andy Warhol Exhibition Supporters Circle, Tate Americas Foundation, Tate International Council, Tate Patrons and Tate Members.

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Read the exhibition guide for Andy Warhol at Tate Modern

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, not quite yourself but not quite someone else... like the way this was filmed and the effect on the stills looks very interesting its like multiple people are in the video but mostly it is ashanti alone.

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A Séance: A Call and Response

collaborative film by Ashanti Harris & Jen Martin

commissioned by V/DA for Sonic Seance: The Gathering exhibition at the Centre For Contemporary Arts, Glasgow, 2019

A séance. A call and response. A meeting at which people attempt to make contact with the departed, with the ancestors, with the spirits, with those who came before, with the presence felt in the present.

Séances grew popular with the founding of the religion of spiritualism in the mid 19th century. Understanding the spirit world not as a static place but a space of continuous evolution, progression and advancement, spirits are believed to be more advanced than living humans, holding deeper knowledge and understanding of both the harmonies and discordant nature of being. Communication with the spirits through seances is thought to provide enlightenment.

Channelling the voices of others became popular among women who, in the mid 19th Century, were rendered voiceless in society. The practice encouraged believers to look inward and listen and speak. Through seances, women were un-silenced. No longer solely dependent on men, domestic work, or backbreaking shifts in the factories, women gained mobility as mediums, capable of possessing the power of foresight, oration and political influence. Armed with the authority of their "gifts" women were empowered to express anger and outrage at the civil and social injustices they experienced and observed. Practicing a new form of political resistance, seances became a revelation of experience, creating a platform for women to shape their own lives and the lives of those around them.

*

In Dr Satan's Echo Chamber, Chude-Sokai's history of the universe identifies that Western Science has provided us with a myth of origins in the 'Big Bang' theory. The West's obsession with cause and effect focuses on the process of contraction and expansion in the universe, mirroring its colonial ideologies. Chude-Sokai suggests it is the role of another kind of "science" to interrogate the metaphor in the term "Big Bang."

Re-interpreting the "Big Bang" as a sonic phenomenon, creation becomes an echo of that primordial sound, a product of its sonic waves. Working from this re-interpretation we can regenerate one of the most crucial dialectics in human knowledge: Sound and Silence. "What bridges the two elements is echo, the traces of creation. If sound is birth and silence death, the echo trailing into infinity can only be the experience of life, the source of narrative and a pattern for history." In the Caribbean vernacular, "science" is another term for "bush magic" or the occult, which brings us back to the séance and its embodiment of dualities. Séances bridge the gap between the past and the present and the known and the unknown. Sonic Séance is an embodiment of the dialogic between sound and silence. Between the silencing of women and the sonority of their contrapuntal voices. Performing the intersection between voice, selfhood and power, Sonic Séance: The Gathering is a collective and collaborative interrogation of the "echo"; the experience of life as a tumultuous cacophony of polyphonic noise, speaking, screaming, crying, laughing, whispering, singing, explaining and articulating.

Audre Lorde famously said, "your silence will not protect you." Sonic Séance: The Gathering is a conjuring of voices. Creating a space for people to come together and listen and speak. Channelling the voices of those who speak to us, through poetry, music, lectures and performances, Sonic Séance: The Gathering amplifies the things which resonate; giving the voices echoes reaching far. It is a tool of empowerment for the female voice and an invoking of consciousness.

Your silence will not protect you.

So, we speak

We séance

Ashanti Harris, 2019

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A Seance: A Call and Response - ASHANTI Harris

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A Séance: A Call and Response collaborative film by Ashanti Harris & Jen Martin commissioned by V/DA for Sonic Seance: The Gathering exhibition at the Centre For Contemporary Arts, Glasgow, 2019 A séance. A call and response.

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been feeling very connected to this painting through my work this year and have been emulating the painting style with my character. I think i have been drawn to it depicts something unattainable right now, connection. in feeling very lonely right now i am reaching out to feel connection through art.

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the fact it is stop motion means there is a tiny little set somewhere for every scene, once again i would like to make my own sets but also see these ones.
the other mother creates a world just for coraline like i am creating a world for my character.

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would like to find some small pieces to restore for my "a piece of me, a piece of you" piece.
i have been restoring a lot of old jewellery lately maybe i will add that.

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The Restoration of Ave Maria Narrated Version

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love the way he talks about his work and making it private.

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George Condo: The Way I Think | Louisiana Channel

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set in a tiny dollhouse

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Justin's House Series 1 Episode 19 The Sleepover [HD]

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Andrew Hozier-Byrne is an ethereal Irish singer-songwriter who performs under the mononym Hozier. In Greek mythology, a satyr is a male nature spirit known for their love for music, dancing and sex; the two figures might just be one and the same.
been really enjoying songs about decaying.. becoming one with the world again and feeling a part of the universe.

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Artist Paolo Del Toro uses needle felting to create massive masks and sculptures out of wool and foam. His creations depict mythical faces in expressions that range from grotesque grimaces to contemplative introspection; all of his works feature open mouths. While Del Toro’s work is not tied to any particular cultural visual heritage, the shifting personalities of his characters are reminiscent of Japanese Noh theater masks, which are designed to show different emotions from different angles.
really like the scale of these pieces and the powdery colour, will hopefully work in a larger scale soon.

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No! Monster Chetwynd is a very friendly artist who wasn’t always called Monster. She was born Alalia Chetwynd in 1973, but she decided to change her name.

In 2006 she became known as Spartacus. In 2013 she swapped Spartacus for Marvin Gaye. Then, in 2018 she decided to be called Monster, because it made her happy. She’s not the only artist who likes changing their name. Monster Chetwynd was inspired by a Japanese artist called Katsushika Hokusai, who changed his name 30 times!
transforming ourselves through something as simple as a name change

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WHO IS MONSTER CHETWYND AND IS SHE AS SCARY AS SHE SOUNDS?

No! Monster Chetwynd is a very friendly artist who wasn't always called Monster. She was born Alalia Chetwynd in 1973, but she decided to change her name.

In 2006 she became known as Spartacus. In 2013 she swapped Spartacus for Marvin Gaye. Then, in 2018 she decided to be called Monster, because it made her happy. She's not the only artist who likes changing their name. Monster Chetwynd was inspired by a Japanese artist called Katsushika Hokusai, who changed his name 30 times!

This portrait of her above is called Crazy Bat Lady. It's a self-portrait featuring a bat on the artist's head. Can you also spot the butterfly?

Would you change your name if you could? What would you change it to?

What type of art does she make?

Monster Chetwynd doesn't just make one type of art. She's famous for her paintings, videos, installations, live performances and sculptures. She created two giant slugs that became Tate Britain's Christmas lights in 2018.

Wait, did you just say 'giant slugs'?

That's correct. Monster Chetwynd became interested in slugs after watching a nature documentary. She discovered that when slugs mate, their bodies glow blue. She wanted to recreate this magical moment, so she made two monstrously-sized molluscs. The two slimy pals, 10 metres in length, were positioned outside the gallery.

She smeared slug slime made from blue and white fairylights over the building. She made the slugs from natural materials like wood and felt.

This meant that after the exhibition they could be recycled. Making art that is kind to the environment is part of her mission.

Apart from watching television, what else inspires her?

Monster Chetwynd enjoys watching movies and listening to music. She was drawn to the song Bat Out Of Hell by American singer Meatloaf.

Bats regularly appear in her art, as you can see in Crazy Bat Lady. Monster Chetwynd likes using insects and animals in her work. As well as bats and slugs she's made a giant papier-mâché caterpillar, a cat bus inspired by the Japanese animation film My Neigbour Totoro (below) and a giant turtle (above).

What is Monster most famous for?

In 2012 Monster Chetwynd was short-listed for the Turner Prize. The Turner Prize is awarded each year to a British artist, She won it for a live performance art piece called Odd Man Out, which lasted for five hours.

In 2019 all four artists who were nominated won the award.

What is performance art ?

It may sound as though it belongs in a theatre more than an art gallery but some artists like to create artwork that isn't flat, or 3D, but is a live experience. It could involve mime where you move but don't make any sounds, dance, words or music. Many of Monster Chetwynd's performances feature people performing together, but sometimes it's just her.

Her love for performance art comes from her passion for designing outfits for costume parties: she's also known for throwing the best fancy dress parties. She said:

'My work comes from parties and wanting to have fun. As a kid I didn't have many birthday parties but the ones I had were really successful. They gave me confidence because it was something that I was doing well.'

If you were invited to one of Monster Chetwynd's parties, what costume would you make to wear?

Is Monster chetwynd going to change her name again?

Maybe! She likes the idea that you could have different names for different times of your life. Often artists go through different phases in their work.

She also just really likes unusual names. She's called Monster and guess what her son is called? Dragan!

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Who is Monster Chetwynd? - Who Are They? | Tate Kids

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No! Monster Chetwynd is a very friendly artist who wasn't always called Monster. She was born Alalia Chetwynd in 1973, but she decided to change her name. In 2006 she became known as Spartacus. In 2013 she swapped Spartacus for Marvin Gaye. Then, in 2018 she decided to be called Monster, because it made her happy.

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Nue couchée
1969–70
very human and very non-human at the same time, very sexually suggestive but how is this possible when it is so far from a human body?
this whole collection is very interesting.
Nue couchée, 1969-70, is one of a group of soft sculptures made by Tanning that evoke the female body. Here the pink fabric, the emphatically, even outrageously, rounded forms, the suggestion of vertebrae made by the table tennis balls inside the sculpture, and the limb-like extrusions which, in folding back on themselves, help balance the horizontal sculpture, combine to create this metamorphic ‘nude’.

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“I had a flashback of something that never existed”

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“I had a flashback of something that never existed”

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Louise Bourgeois from her book ode a l'oubli
makes me think of the stories we make up about art and media where were not given the backstory

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Ode à l'Oubli

2002

so inspired by these soft touch books!! want to add 50 pages onto my book. love thinking about how much time she put into these pieces.
from appliqué and quilting to embroidery and weaving—and echo many of the forms that occupied the artist throughout her career, including totemic stacked towers, concentric circles and squares, tightly woven grids, and round organic shapes. The book incorporates two of her own texts: “I had a flashback of something that never existed” and “The return of the repressed,” lines which are in keeping with the terse yet loaded prose she began publishing in the late 1940s.

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my favourite exhibition.
uncanny eerie video work which crosses platforms.
i love the mini sets (its like peeking into mini worlds)
the speaking is like that of 80s media and i really like that. would like to make mini sets like this, love the set out of the exhibition.

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Mother and Child (Divided)

exhibition copy 2007 (original 1993)
i feel very sad looking at this work, the animals should be reunited as in life, it is a view of these creatures you often wouldnt get. would like to imagine a possible way to view my character like this .. maybe as a cast?

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ALMOST human.. just missing a few aspects that makes it not humans but i think the first thing you see looking at this piece is a human face, similar to mine.
The seemingly ancient 4 Larvae (Lemur Heads) made of painted, sculpted aluminum, which extend up to three meters in height, invite viewers to engage in a dialogue with the sculptural objects and combine with the symbolism of the inherently flowing water of the River Wien, whose loose, flexible, and unpredictable form leads to associations with chaos as a creative flow and a primeval material.

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Colima state, Late Formative period, 100 BC to 200 AD, ceramic - Dallas Museum of Art

the complete opposite of what im doing! becoming human!
i would love the visit him wearing my costume...

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why these "human-like" sculptures and masks make us feel uneasy and uncomfortable. my piece inherently has this effect as it obscures the face and can make the wearer look like they are screaming due to the constantly open mouth. i think if you allow yourself to believe that the mask is actually the persons face and not part of the costume it becomes very uncomfortable.

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The "uncanny valley" is a characteristic dip in emotional response that happens when we encounter an entity that is almost, but not quite, human. It was first hypothesised in 1970 by the Japanese roboticist Masahiro Mori, who identified that as robots became more human-like, people would find them to be more acceptable and appealing than their mechanical counterparts. But this only held true to up a point. When they were close to, but not quite, human, people developed a sense of unease and discomfort. If human-likeness increased beyond this point, and they became very close to human, the emotional response returned to being positive. It is this distinctive dip in the relationship between human-likeness and emotional response that is called the uncanny valley.
Artificial intelligence: 'Homo sapiens will be split into a handful of gods and the rest of us'
Anything with a highly human-like appearance can be subject to the uncanny valley effect, but the most common examples are androids, computer game characters and life-like dolls.

However, not all near-human robots are eerie, and the perception of eeriness varies from person to person. So what evidence exists for the effect and what properties of near-humans might make us feel so uncomfortable?

Dolls and other human-like agents

Since 1970, the uncanny valley effect has been explored from many perspectives, from the practical interest of roboticists to theoretical approaches from philosophers and experimental studies conducted by psychologists. Research started in earnest from 2005, when Karl MacDorman and Takashi Minato translated Mori's original paper into English. Interest in the area has since expanded quickly: so far, 510 academic papers reference the effect in 2015, compared to just 35 in 2004.

Although the effect is easy to describe, and feels intuitively "right" when looking at some examples of human-like agents such as reborn dolls or game characters, it is notoriously difficult to research such a circular and subjective concept. Academics are even engaged in an active debate as to whether the uncanny valley exists at all - Jari Kätsyri and colleagues recently reviewed the evidence and drew the conclusion that the effect remains elusive.

Either way, the debate has not yet been won - although perhaps the most compelling evidence for the existence of the uncanny valley has just been published. Maya Mathur and David Reichling studied 80 real-world robots and found a clear valley effect in how much people liked and were willing to trust them.

Their data showed the classic rise-dip-rise that Mori originally predicted. This was found with the original robots and also with CGI images built to systematically vary in human likeness. The challenge now is to explain just why this might be happening. I have been researching in this area since 2006, and my own review of the literature found at least seven explanations - but at the moment there are three theories that seem particularly promising.

Where the uncanny boundary lies

First, the uncanny valley might occur at the boundary where something moves from one category to another, in this case, between non-human and human. Christine Looser and Thalia Wheatley looked at mannequin faces that were morphed into human faces and found a valley at the point where the inanimate face started to look alive.

Second, the presence of a valley may hinge on whether we're able to believe that near-human entities possess a mind, as we do. A study by Kurt Gray and Daniel Wegner found that robots were only unnerving when people thought that they had the ability to sense and experience things, and robots that did not seem to posses a mind were not frightening.

A compelling area for research is that it occurs because of mismatches between the robot's appearance and/or behaviour

A final compelling area for future research is that the uncanny valley occurs because of mismatches between aspects of the robot's appearance and/or behaviour. Angela Tinwell's work has looked at many types of mismatch, including speech synchronisation, speech speed and facial expressions. In one 2013 study, near-human agents that reacted to a startling noise by showing surprise in the lower part of their face (not the upper part) were found to be particularly eerie. The study suggested that this may even be reminiscent of the pattern of expressive behaviour exhibited by humans with psychopathic traits.

My latest research has built on Tinwell's findings and looked at responses to faces with different emotional expressions shown in the eyes and the rest of the face. I found that the eeriest combinations were those where happy faces were paired with fearful or angry eyes, possibly suggesting the agent was trying to suppress an unpleasant emotion.

Android science progresses rapidly, and is creating increasingly realistic robots. The uncanny valley would not exist if a robot were indistinguishable from a human, because there would no longer be a relative dip in emotional response.

One theory, that of an uncanny wall, suggests that it will always be possible to tell artificial from human because as robots become more realistic, we will also become more sensitive and will always be able to tell that something is not right.

However, we're certainly not there yet, and we could eventually find that the uncanny valley effect was an artefact of this particular period in the history of artificial humans, when representations were clearly distinguishable from human. For some, not being able to distinguish between robots and humans, for example, may throw up problems beyond being creepy. Speaking as a researcher of the uncanny valley, I plan to enjoy its sense of subtle eeriness while it lasts.

* This article was originally published on the Conversation, part of the Guardian Comment Network
Topics

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Uncanny valley: why we find human-like robots and dolls so creepy | Stephanie Lay

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The "uncanny valley" is a characteristic dip in emotional response that happens when we encounter an entity that is almost, but not quite, human. It was first hypothesised in 1970 by the Japanese roboticist Masahiro Mori, who identified that as robots became more human-like, people would find them to be more acceptable and appealing than their mechanical counterparts.

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“I slay bugs.”  From an 1892 ad for Hammon’s Slug-Shot Insecticide & Fertilizer.
super cute lino cut

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16th–17th century

United States, California
really love these pieces, feel very precious that someone just wanted to make a bear. he is very cute.

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Stone Bear | Chumash | The Metropolitan Museum of Art

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Timed tickets are required for About Time: Fashion and Duration and Making The Met, 1870-2020 . Tickets are limited.

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gallery showing aboriginal paintings, with the history of aboriginal art.
i enjoy seeing what people used before having real access to specific art materials.

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About Me

My name is Richard Aldridge and I am a keen collector and dealer of both early Aboriginal art and antique tribal art. Some of the Aboriginal bark paintings that I purchase stay in my collection. Other Aboriginal bark paintings I make sure go to people who appreciate them.

It is important that certain significant pieces of Aboriginal Art make their way back to Australia. It is worthwhile getting such pieces into a public institution where they can educate and be enjoyed by all Australians.

I have exhibited in America and New Zealand and contributed to several tribal art publications.

I have been dealing in indigenous art for over 17 years and I still enjoy seeing new pieces and where possible sharing my knowledge.

Aboriginal bark paintings is my passion so feel free to contact me.

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Aboriginal bark paintings | art | aboriginal sculpture |aboriginal shields

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My name is Richard Aldridge and I am a keen collector and dealer of both early Aboriginal art and antique tribal art. Some of the Aboriginal bark paintings that I purchase stay in my collection. Other Aboriginal bark paintings I make sure go to people who appreciate them.

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such a cute representation of a human turned into a non human entity. reminds me of my work from last year, turning the placenta into a vase.
9th–4th century B.C.

Ecuador
Red pigment is rubbed into the matte surface on the head, arms, and legs, and around the raised lip of the vessel opening.
natural pigment! what pigment can i find? lichen... grass... bugs..

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Figure Vessel | Chorrera | The Metropolitan Museum of Art

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Human figures are represented by the Chorrera people with rounded, full-volume forms and a minimum of anatomical detail. This figure's body forms a vessel. On its back, fat arms at its sides and short legs extended, it has a large, round opening in its stomach.

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the presentation of this piece is different from anything ive seen before, presenting it as a product which you can actually buy is very interesting, it exists in multiple sectors.
you can still tell there is a person inside but it is manipulated and hidden.
“We all have these moments when we wish the world could just stop existing for a while. Whether it’s to get away from a personal crisis or from universal threats... Now, for these moments we have the perfect soultion: the HideAway. Pre-shaped in the hiding-position, this cover has a snug fit and is easy to use. you can get into it fast and easy, anywhere and at any time.”

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body additions/modifications
really like her use of latex and silicone. want to use those again at some point but not in this project. i like the manipulation of the body.

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100–300

Roman

beautiful whimsical piece once again echoing being bale to connect with our ancestors through constants.
Copper alloy with champlevé enamel
want to try enamel or faux enamel this year.

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Title: Brooch in the Form of a Rabbit

Medium: Copper alloy with champlevé enamel

Dimensions: Overall: 13/16 x 1 3/16 x 5/16 in. (2 x 3 x 0.8 cm)

Classification: Enamels-Champlevé

Credit Line: Gift of Stephen and Virginia Sandy, 2007

Accession Number: 2007.162.2

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Brooch in the Form of a Rabbit | Roman | The Metropolitan Museum of Art

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Title: Brooch in the Form of a Rabbit Medium: Copper alloy with champlevé enamel Dimensions: Overall: 13/16 x 1 3/16 x 5/16 in. (2 x 3 x 0.8 cm) Classification: Enamels-Champlevé Credit Line: Gift of Stephen and Virginia Sandy, 2007 Accession Number: 2007.162.2

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Greek

Geometric Period

about 750 B.C.
Probably cast in one piece; horizontal striations are visible on the left side of the horse, and on the lower parts of the legs (reworkings of the cast?). The horse is a standard, voluminous silhouette. The mouth and ears, curving forward, are incised. A simple, incised line delineates the tail. The ring on which the horse stands has two drop-shaped pendants suspended from the bottom.
love the rust and colour this piece has taken on, when i can finally cast properly i would love to try some erosion techniques to emulate the piece being around for a long time. i love how one of the only constants through history is using the imagery thats in front of us- we can connect to our ancestors through these constants.

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Haring was constantly using blank characters in his work to represent himself and others and i feel very connected to this.
i like this skateboard mural titled "monster skateboards" with the masks.

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og club kid writing about people and the culture.
exhibition of amazing film images of club kids in the 80s/90s. I love the exploration of different shapes and colour.

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By definition, a Club Kid is: "a group of eccentric, wildly flamboyant young clubgoers who more or less defined New York nightlife in the late 1980s and early 1990s." Amongst these, Leigh Bowery, Michael Alig and James St James led the subculture, which redefined disco through their wild pranks and outlandish costumes. Dressed in bodysuits and unitards, they emerged at clubs such as Savage and The Tunnel, before moving onto The Roxy, Love Machine and eventually The Limelight, which remains a symbolic beacon of the time. "S&M, clowns or cyberpunk with some kind of lunchbox or kooky backpack and platform shoes," remembers club kid Ernie Glam, "The club kids reinvented the do-it-yourself spirit of punk rock and incorporated sci-fi and the circus to create a scene that seemed new and exciting." Fabulousity: A Night You'll Never Forget...or Remember! is a new book which features photographs by Alexis Dibasio which capture the resonating essence of the time. Here, curator Ernie Glam speaks to AnOther about his Club Kid memories.

What inspired the exhibition?
The exhibition is a result of Steve's and my interest in nightclubs, dance music, nightclub culture, vintage nightclub invitations and old photos of nightclub scenes. Steve and I actually met through the Ebay.com website when I was auctioning off my excess club kid card collection about two years ago. The club kid cards were a series of club invites printed around 1991 by the Limelight nightclub in NYC featuring nightlife celebutantes on the front and a party invite on the back. Once Steve and I began corresponding we discovered that we both had invite collections and eventually I invited Steve to my home in the Bronx to look through the 1000s of photos of clubbers in my collection. When Steve proposed an exhibit I immediately began cooperating with him as my collection had just sat for almost two decades in my closets unseen by anybody. So essentially this event is debutante party for the part of the exhibit that features my photos and ephemera.

What are some of your favourite fashion memories from the time?
My favourite fashion memories include the so-called "heroin chic" and grunge looks, as well as the body revealing clothes that had cut outs over the breasts and ass cheeks. I also loved the freaky facial piercings that accompanied the cyberpunk looks, which included metallic tape, hardware accessories, helmets and lights or tubes strapped to clubbers' bodies. My personal favorite was the slut clown look, a look I often channelled on the dance floor. That was often an infantile or circus-like costume that revealed nipples and ass cheeks.

"The club kids reinvented the do-it-yourself spirit of punk rock and incorporated sci-fi and the circus to create a new and exciting scene"

What messages came through from the club kid era?
The main message was, and still is, that if you feel like an outcast in your small town you can move to a big city like NYC and become a designer, a stylist, a nightclub promoter or a junkie. It all depends on your initiative, creativity and focus.

What style of music did they play, do you have favourite songs from the time?
The main styles heard in the clubs attended by the club kids in the late 1980s and 1990s was house music in the Chicago style, acid house, techno, tribal house and trance. Some of my favorite songs were: James Brown Is Dead by L.A. Style, O Fortuna by Apotheosis, Bango by Todd Terry, The Power by Snap, Rock to the Beat by 101, Spice by Eon.

Fabulousity: A Night You'll Never Forget...or Remember! is published by Wild Life Press and is available now.

Text by Mhairi Graham

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Ernie Glam on the Fabulosity of Club Kids

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By definition, a Club Kid is: "a group of eccentric, wildly flamboyant young clubgoers who more or less defined New York nightlife in the late 1980s and early 1990s." Amongst these, Leigh Bowery, Michael Alig and James St James led the subculture, which redefined disco through their wild pranks and outlandish costumes.