1. chaosophia218:

    La Isla de las Munecas - an Island filled with hundreds of hanging, decomposing, decapitated dolls, Mexico City.


    Over fifty years ago, Don Julian Santana left his wife and child and moved onto an island on Teshuilo Lake in the Xochimilco canals. According to some, a young girl actually drowned in the lake, while most others, including his relatives, say Don Julian Santana merely imagined the drowned girl. Regardless, Don Julian Santana devoted his life to honoring this lost soul in a unique, fascinating, and - for some - unnerving way: he collected and hung up dolls by the hundreds. Eventually, Don Julian transformed the entire island into a kind of bizarre, horrifying, doll-infested wonderland.

    Don Julian Santana began collecting lost dolls from the canals and the trash near his island home. He is also said to have traded produce he grew to locals for more dolls. Santana did not clean up the dolls or attempt to fix them, but rather put them up with missing eyes and limbs, covered in dirt, and generally in whatever ramshackle state he found them in. Even when dolls arrived in good shape, the wind and weather turned them into cracked and distorted versions of themselves.

    Don Julian also kept his cabin filled with the dolls, which he dressed in headdresses, sunglasses, and other accoutrement. Despite the fact that most people found the isle frightening, Don Julian saw the dolls as beautiful protectors, and he welcomed visitors, whom he would show around, charging a small fee for taking photos.

    In 2001 Don Julian Santana was found drowned in the same area in which he believed the little girl had died.

    (via urds-well)

     
  2. cross-connect:

    Erin M.Riley Brooklyn, NY based artist uses traditional tapestry techniques to explore women’s sexuality in its more intimate facets. 

    My work is the culmination of research into addiction, sexual experimentation, popular internet culture, the effects of single parent households, socio-economic status’ etc. I am drawn to the images taken for private exchanges that become littered on the internet. I am using my own images that I have sent to lovers as well as the objects that I have formed psychological attachments to, objects that have impacted people’s lives, displays of arrests, deaths, addictions.

    Posted to Cross Connect by Margaret

     
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  5. cross-connect:

    Jason DeMarte born 1973 in Louisiana, is an established artist teaching as a tenure track faculty in photography at Eastern Michigan University. His work has been exhibited in galleries and museums, both nationally and internationally, currently is represented by Rule Gallery in Denver Colorado, Clamp Art in NYC and Wessel Snyman Creative in Cape Town, South Africa.

    I work digitally, combining images of fabricated and artificial flora and fauna with graphic elements and commercially produced products such as processed food, domestic goods and pharmaceutical products. I look at how these seemingly unrelated and absurd groupings and composites begin to address attitudes and understandings of the contemporary experience.

    I represent the natural world through completely unnatural elements to speak metaphorically and symbolically of our mental separation from what is “real”, and compare and contrast this with the consumer world we surround ourselves with as a consequence.

    Posted to Cross-Connect by Margaret

     
  6. dynamicafrica:

    Works by South African artist Loyiso Mkize

     
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  9. samcannon:

    Stereoscopic GIFs with Apple Maps. 

     
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  11. Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
    Vanscapes by Alison Turner
     
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  13. "Evil spawns evil. The first experience of torture gives an understanding of the pleasure in tormenting others."
    — Mikhail Lermontov, A Hero of Our Time (via fyodors)

    (Source: sila-necista, via darksilenceinsuburbia)

     
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  15. darksilenceinsuburbia:

    Ana Mendieta

    Untitled (Self-Portrait with Blood) (detail), 1973. Private collection, London; Courtesy Alison Jacques Gallery, London

    Untitled (Body Tracks), 1974. Colour photograph, lifetime print. Collection of Igor DaCosta. © The Estate of Ana Mendieta Collection, L.L.C. Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

    Blood and Feathers #2. 1974

    Imagen de Yagul. 1973

    Untitled (Cuilapán Niche). 1973. Black-and-white photograph (lifetime print). Private collection, London; Courtesy Gallery Lelong, New York and Paris, and Alison Jacques Gallery London

    Tree of Life. 1976. Colour photograph, lifetime print
    Collection Raquelín Mendieta Family Trust
    © The Estate of Ana Mendieta Collection, L.L.C.
    Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

    “Ana Mendieta died at just 36 years old, but the imprint of her life digs deeper than most. Mendieta’s work occupies the indeterminate space between land, body and performance art, refusing to be confined to any one genre while working to expand the horizons of them all. With the immediacy of a fresh wound and the weightlessness of a half-remembered song, Mendieta’s artwork remains as haunting and relevant today as ever.

    Her haunting imagery explores the relationship between earth and spirit while tackling the eternally plaguing questions of love, death and rebirth. Like an ancient cave drawing, Mendieta’s art gets as close as possible to her subject matter allowing no excess, using primal and visceral means to navigate her themes. Decades after her death, the Museum der Moderne Salzburg will show a retrospective of the late feminist artist’s work, simply titled “Ana Mendieta: Traces.”

    Mendieta, who was born in Havana, Cuba in 1948, moved to the U.S. at 12 years old to escape Castro’s regime. There she hopped between refugee camps and foster homes, planting inside her an obsession with ideas of loss, belonging and the impermanence of place. As an artist in the 1970s, Mendieta embarked upon her iconic series “Silhouettes,” in which she merged body and earthly material, making nature both canvas and medium. In her initial “Silhouette,” Mendieta lay shrouded in an ancient Zapotec grave, letting natural forms eat up her diminutive form.

    Her “earth-body” sculptures, as they came to be known, feature blood, feathers, flowers and dirt smothered and stuck on Mendieta’s flesh in various combinations. In “Imagen de Yagul,” speckled feverishly in tiny white flowers, she appears as ethereal and disembodied as Ophelia, while in “Untitled Blood and Feathers” Mendieta looks simultaneously the helpless victim and the guilty culprit. “She always had a direction – that feeling that everything is connected,” Ana’s sister Raquelin said of her work.

    An uncertain mythology runs throughout Mendieta’s oeuvre, a feeling at once primal, pagan and feminine. Admirers have cited the Afro-Cuban religion of Santeria as an influence, as well as the ancient rituals of Mexico, where Mendieta made much of her work. Yet many of Mendieta’s pieces removed themselves from the spiritual realm to address present day events, for example “Rape Scene,” a 1973 performance based off the rape and murder of a close friend. For the piece Mendieta remained tied to a table for two hours, motionless, her naked body smeared with cow’s blood. In another work, Mendieta smushes her face and body against glass panes, like a child eager to peek into an off-limits locale, or a bug that’s crashed into a windshield. Against the glass, her scrambled facial features almost resemble a Cubist artwork.

    Mendieta died tragically young in 1985, falling from her New York City apartment window onto a delicatessen below. She was living with her husband of eight months, minimalist sculptor Carl Andre at the time. Andre was convicted of murder following the horrific incident and later acquitted. Though the art world remains captivated by the mysterious nature of Mendieta’s passing, her sister emphasized the importance of removing Ana’s work from her life story. “I don’t want it to get in the way of the work,” she said. “Her death has really nothing to do with her work. Her work was about life and power and energy and not about death.”

    Fellow feminist performance artist Carolee Schneeman disagrees, however, telling The New York Timesin 2004: “I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don’t want this depth of feminine eroticism, nature, absorption, integration to happen. It’s too organic. It’s too sacral. In a way, her death also has a symbolic trajectory.”

    Since many of Mendieta’s artworks were bodily performances, the ephemera that remain are but traces of her original endeavors. For an artist whose career was built on imprints, ghosts and impressions, this seems aptly fitting. Visceral yet distant, bodily yet spiritual, Mendieta’s images speak a language very distant from the insular artistic themes that so often populate gallery and museum walls. Mendieta’s works present the female body turned out, at once vulnerable and all-powerful, frail and supernatural. As her retrospective makes obvious, her artistic traces are still oozing lifeblood.”

    Priscilla Frank. “The Haunting Traces Of Ana Mendieta Go On View (NSFW),” on the Huffington Postwebsite February 4, 2014 [Online] Cited 30/06/2014