ARNE SVENSON | +The Neighborsvia: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap. In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable. But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)
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ARNE SVENSON | +The Neighborsvia: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap. In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable. But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)
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ARNE SVENSON | +The Neighborsvia: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap. In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable. But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)
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ARNE SVENSON | +The Neighborsvia: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap. In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable. But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)
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ARNE SVENSON | +The Neighborsvia: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap. In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable. But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)
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ARNE SVENSON | +
The Neighbors

via: lustik / kateoplis: New Yorkers ‘furious’ over Arne Svenson’s work

In one photo, a woman is on all fours, presumably picking something up, her posterior pressed against a glass window. Another photo shows a couple in bathrobes, their feet touching beneath a table. And there is one of a man, in jeans and a T-shirt, lying on his side as he takes a nap.

In all the photos, taken by New York City artist Arne Svenson from his second-floor apartment, the faces are obscured or not shown. The people are unidentifiable.

But the residents of a glass-walled luxury residential building across the street had no idea they were being photographed and they never consented to being subjects for the works of art that are now on display — and for sale — in a Manhattan gallery. (LSJ.com)


(via lustik)

Source: kateoplis

amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalgaZORAN TODOROVIC | +This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process. Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist) Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić. *artist found via:  shinyslingback and stuffthatmakesmeuncomfortable
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amalga
ZORAN TODOROVIC | +

This work encompasses a series of events culminating in the production of soap made from the artist’s fat. In addition to the resulting soap, the installation involves exhibiting of photo and video documentation of the entire process.

Commensurate with the gallery exhibition of this work, a nearby apartment with a bathroom is rented and available/offered to spectators who want to participate by testing this soap (with the assistance of curators and the artist)

Photographs: Zoran Todorović, Dragan Jovanović, Dejan Grba and Ivana Vučić.

*artist found via:  shinyslingback and stuffthatmakesmeuncomfortable

Ismail Bahri | + Blood Ink| photographic series 40x40 cm 2009  in the artist’s words: the ink penetrates the pores in small doses, to form small mazes, suggesting a halo, swarming organic or celestial landscapes. Dissemination of ink suggests nightfall, constellation — making visible the gradual withering bodies, {the}feeling of impending drowsiness of the body  (pillaging my archives)
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Ismail Bahri | + Blood Ink| photographic series 40x40 cm 2009  in the artist’s words: the ink penetrates the pores in small doses, to form small mazes, suggesting a halo, swarming organic or celestial landscapes. Dissemination of ink suggests nightfall, constellation — making visible the gradual withering bodies, {the}feeling of impending drowsiness of the body  (pillaging my archives)
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Ismail Bahri | + Blood Ink| photographic series 40x40 cm 2009  in the artist’s words: the ink penetrates the pores in small doses, to form small mazes, suggesting a halo, swarming organic or celestial landscapes. Dissemination of ink suggests nightfall, constellation — making visible the gradual withering bodies, {the}feeling of impending drowsiness of the body  (pillaging my archives)
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Ismail Bahri | + Blood Ink| photographic series 40x40 cm 2009  in the artist’s words: the ink penetrates the pores in small doses, to form small mazes, suggesting a halo, swarming organic or celestial landscapes. Dissemination of ink suggests nightfall, constellation — making visible the gradual withering bodies, {the}feeling of impending drowsiness of the body  (pillaging my archives)
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Ismail Bahri | +

Blood Ink| photographic series 40x40 cm 2009 

in the artist’s words: the ink penetrates the pores in small doses, to form small mazes, suggesting a halo, swarming organic or celestial landscapes. Dissemination of ink suggests nightfall, constellation — making visible the gradual withering bodies, {the}feeling of impending drowsiness of the body 

(pillaging my archives)

(via tonallyblack)

Source: blog.sevenknotwind.com

RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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RYOKO SUZUKI—Bind Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life MARINA ABRAMOVIC— Balkan BaroqueThe original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history.  ORLAN— carnal art Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space. MARY COBLE— blood scriptBlood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink. Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically. *for ISSUES & IMAGES: flesh + blood lecturea selection of female artists using blood as a medium in the production of art
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  1. RYOKO SUZUKI—Bind 
    Bind shows a woman who has to deal with her female sexuality. In this series, Suzuki bound herself with pigskin, which had been soaked in her own blood as a symbol of womanhood. Suzuki has said this work speaks to her transformation from a child to a woman and addresses both the anxiety and ignorance she felt at this point in her life
  2. MARINA ABRAMOVIC— Balkan Baroque
    The original piece was performed in the Venice as part of the Biennale— Abramović sat cleaning the bones, amid blood and stench.  The enormous, seemingly impossible and bloody task plays on her suffering, the artist’s inability to express or comprehend the enormity of the crimes and violence that make up her cultural history. 
  3. ORLAN— carnal art 
    Orlan has undergone numerous plastic surgeries in an attempt to make herself look like her computer-generated collage, built from idealized figures from art history. The point, however, is not simply for Orlan literally to become a work of art—    each operation is treated as a performance piece in its own right. Orlan only allows herself to be given local anesthetics and thus is able, from the operating table, to direct the transformation of the surgical theater into her personal performance space.
  4. MARY COBLE— blood script
    Blood Script was a live performance piece that took place at the PULSE Art Fair at Pier 40 in New York City, New York in 2008. The artist meticulously documented inscriptions from three previous performances and compiled a list of over 200 hateful words and phrases that had been written on her in marker, by viewers, in various languages. For Blood Script, the artist had 75 of the most common words tattooed onto her skin, without ink.     Using decorative letters, she attempts to play with the dichotomy between the beautiful visual form of the words and the ugly meanings they convey semantically.

*for ISSUES & IMAGES: flesh + blood lecture
a selection of female artists using blood as a medium in the production of art

MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
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MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
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MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
Zoom Info
MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
Zoom Info
MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
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MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
Zoom Info
MARC QUINN— Self 2006 made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991  FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 imagesin Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 layers of Blood preserved on plexiglass, UV resin, the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture.  ANDRES SERRANO— blood and semen V 1990 + bloodstream The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative. *for ISSUES & IMAGES: flesh + blood lecturea selection of male artists using blood as a medium in the production of art
Zoom Info
  1. MARC QUINN— Self 2006 
    made using 4.5 litres of his own blood, which was slowly extracted from his body over a period of five months and frozen in a cast of his face. Quinn has been making these roughly every five years since 1991 
  2. FREDERIC FONTENOY— Alkama (blood & milk) 2003 | 2 images
    in Fontenoy’s words: “Alkama is an experiment, related to alchemy… The vital fluids, red and white, male and female, female or male, mingle—the experiment is whether they will interpenetrate or reject.”  these photographs capture the moments when the two body substances first come together
  3. JORDAN EAGLES— BAR 1-9 2009 + LIFE FORCE 2008 
    layers of Blood preserved on plexiglass, UV resin,     the process of layering blood and resin in this manner (at times up to 3 inches thick) allows for the creation of depth, luminosity and texture. 
  4. ANDRES SERRANO— blood and semen V 1990 + bloodstream 
    The most famous and notorious of Serrano’s work plays on the relationship between beautiful imagery and vulgar often bodily materials and substances, his subject matter often draws from the potentially controversial and is intentionally provocative.

*for ISSUES & IMAGES: flesh + blood lecture
a selection of male artists using blood as a medium in the production of art

The Pantheon an homage to one of the oldest extant concrete structures, is comprised of 196 unique 3D printed cement polymer components. Each component is held in compression to create a structural network of individual masonry polymer blocks, each with a compressive strength of 1800psi.via: Emerging Objects— a subsidiary of RAEL SAN FRATELLO ARCHITECTS
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The Pantheon an homage to one of the oldest extant concrete structures, is comprised of 196 unique 3D printed cement polymer components. Each component is held in compression to create a structural network of individual masonry polymer blocks, each with a compressive strength of 1800psi.via: Emerging Objects— a subsidiary of RAEL SAN FRATELLO ARCHITECTS
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The Pantheon an homage to one of the oldest extant concrete structures, is comprised of 196 unique 3D printed cement polymer components. Each component is held in compression to create a structural network of individual masonry polymer blocks, each with a compressive strength of 1800psi.via: Emerging Objects— a subsidiary of RAEL SAN FRATELLO ARCHITECTS
Zoom Info

The Pantheon
an homage to one of the oldest extant concrete structures, is comprised of 196 unique 3D printed cement polymer components. Each component is held in compression to create a structural network of individual masonry polymer blocks, each with a compressive strength of 1800psi.
via: Emerging Objects— a subsidiary of RAEL SAN FRATELLO ARCHITECTS