Oh, wow. The usual version of wing tattoos where they’re folded up against the shoulder blades doesn’t appeal to me but these… oh yes.
GET ON MY BODY
still really love this.
"But Jessica, you want to marry EVERYTHING"
Bacchus can be seen as the topic of intense, inward absorption in the figures of the inebriated wine god and the hungry satyr, both of whom can be seen reveling in their own states of sensual consumption as they cherish the food they stare at and hold in their grasp.
Michelangelo di Lodovico Buonarroti Simoni was born on this day in 1475. In celebration, we’re sharing a free chapter via Stanford Scholarship Online from In Your Face: Professional Improprieties and the Art of Being Conspicuous in Sixteenth-Century Italy on Michelangelo’s Bacchus, the sculpture produced originally for one of the most powerful patrons in Rome, Cardinal Raffaele Riario.
Image credit: Michelangelo’s Bacchus by shakko. Creative Commons via Wikimedia Commons.
In [Sami Mohammad’s] Sabra and Chatila, the barely alive, single, recumbent body bound by incising, torturous fetters stands for a people who tried to navigate between the Scylla of civil war and the Charybdis of Israeli aggression. The viewer is struck by the solemn form of the near-naked youthful civilian - the excruciatingly taut torturing straps function as parodic garments around his groin - who in his surrendering collapse has been stretched out on an altar-like block, with his left arm and both legs intricately tied to his torso by strong leather straps, redolent of the collapse of moral and civic laws.
Some folks might remember that I got my favorite part of Middle Earth tattooed on my head a while ago, but now there’s more! The whole side has been done that stretches all the way to Erebor, and I’m not even done yet.
(Many continuous thanks to Ed Dempsey in Woodstock, Ny)
Bobtail, or Dumpling Squids are adorable little bioluminescent cephalopods who live in the shallow coastal waters of the Indian and Pacific Ocean. They only get about 1-8 cm so this one is a life-sized replica.
danceinthedarksingintheshower - lookitlookitlookit!
British/Nigerian artist Yinka Shonibare MBE explores colonialism and the intricate ways in which it has shaped, and continues to shape, cultural identities. He is well known for his life-size sculptural tableaux featuring staged, headless mannequins dressed in elaborate period garments.
In Scramble for Africa,2003, fourteen headless, mixed-race mannequins are seated at a sixteen-foot-long table. They symbolize the European figureheads who came together at the Berlin Conference, 1884–1885, to annex territories of trade in Africa for each of their countries. With regard to colonialism, the absence of heads implies loss of identity and, moreover, loss of humanity. Of this work, Shonibare explains, “I wanted to represent these European leaders as mindless in their hunger for what the Belgian King Leopold II called ‘a slice of this magnificent African cake.
[…] In these works, the materials and designs of the original clothing are replaced with batik, a colorful and ornately patterned fabric. The story of batik itself speaks to the notion of colonization and its effects: it originated in Indonesia; then, by way of imperial explorers, it was introduced to West Africa, where it was appropriated and now has its strongest associations; and indeed its greatest exporters are not in Africa at all, but are Dutch and British. By presenting his version of historical (often white, European) figures dressed in batik, Shonibare “Africanizes” the subjects, subversively pointing out a multitude of deep-rooted mythologies, falsehoods, and prejudices that complicate the dominant narrative of history and identity. - via themodern
Yinka Shonibare is the portfolio artist for our Masculinity issue.