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Showing posts from April, 2009

David Hoyle - performer - "Magazine" front covers

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"Comedian David Hoyle is no drag - With scary make-up, savage wit and no showtunes,the comedian David Hoyle takes his audiences right to the edge."
CLICK HERE for interview (The Times, April 21, 2009) http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/stage/comedy/article6133256.ece




Gravity Zero : Kitsou Dubois

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The Control and Movement of the Body in Microgravity : Insights from a Dancer's Research in Parabolic Flight
http://www.artscatalyst.org/projects/space/SPACEkitsou.html

Fluid Trajectories, Kitsou Dubois (extract), 2001
http://www.artscatalyst.org/projects/space/kitsou_web.mov

Anthony Gormley - drawings

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Safe 1992
Under my skin 1998

Home 1990


Float II 1992



Germinal 1982
Body and light 1990

"How I became perfect" - retouch campaign

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"The media world is becoming increasingly fixated on appearances. And the number of tricks used to achieve the increasingly exaggerated ideals is growing. Many models have plastic surgery and even more are retouched so they appear to have bigger breasts, smaller stomachs or fuller lips.We wanted to show how easy it is to change someone’s appearance in this campaign."


TRY HERE :http://demo.fb.se/e/girlpower/retouch/


"Filles d'Amsterdam" - photographic series - Jean-Luc Moulène

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Jean-Luc Moulene: travail de sape.(Critical essay)
Publication: Parachute: Contemporary Art Magazine
Publication Date: 01-APR-06Author: Delbard, Nathalie JEAN-LUC MOULÈNE WORKING TO UNDERMINE

" Naturally, Moulène has, once again, taken on an out-of-the-ordinary sort of work, one that gives rise to lively debate; moreover, although we are dealing here with people (Dutch prostitutes) (....)the body is now a body-merchandise, a kind of ultimate consumer object.
(...) in the face of these nude women with their legs spread, with their bodies marked by scars or accessories, and especially with their faces looking straight out at us in alignment with their hairless genitalia, there is no place for the beholder's gaze to seek refuge, no diagonal or intermediary space in which to withdraw. Our gaze constantly wavers between the head and the genitals; it cannot settle on one at the other's expense; it is divided without ever coming to rest. (...)Moulène refuses to separate the he…