A silent protest in Love Park, downtown Philadelphia orchestrated by performance artists protesting the murder of Michael Brown in Ferguson. The onslaught of passerby’s wanting to take photos with the statue exemplifies the disconnect in American society. Simply frame out the dead body, and it doesn’t exist.
Here are some observations by one of the artists involved in the event:
I don’t know who any of these folks are.
They were tourists I presume.
But I heard most of what everything they said. A few lines in particular stood out. There’s one guy not featured in the photos. His friends were trying to get him to join the picture but he couldn’t take his eyes off the body.
"Something about this doesn’t feel right. I’m going to sit this one out, guys." "Com’on man… he’s already dead."
There were a billion little quips I heard today. Some broke my heart. Some restored my faith in humanity. There was an older white couple who wanted to take a picture under the statue.
The older gentleman: “Why do they have to always have to shove their politics down our throats.” Older woman: “They’re black kids, honey. They don’t have anything better to do.”
One woman even stepped over the body to get her picture. But as luck would have it the wind blew the caution tape and it got tangle around her foot. She had to stop and take the tape off. She still took her photo.
There was a guy who yelled at us… “We need more dead like them. Yay for the white man!”
"One young guy just cried and then gave me a hug and said ‘thank you. It’s nice to know SOMEBODY sees me.’
Marc Giai-Miniet is a French artist who makes creepy and fascinating dioramas that tend to feature reproductions of human organs, crime scenes, submarines in basements and wait for it … libraries.
The miniature tableaus are terrific examples of art’s ability to transform seemingly predictable, mundane scenarios into absurd, freakish, and beautiful visual experiences.
Giai-Miniet’s libraries are detailed and striking, replete with book cover art, author names, and identifiable typography. Occasionally a diorama’s title will conjure a loose narrative, an obscure starting point from which the viewer might further consider the art via
"Since the 1950s, we in the western world have increasingly come to understand our most intimate desires and experiences as the products of a so-called ‘chemical self’. We can explain moods, angers and diseases both physiological and psychological as an imbalance of substances in the body.
All of this, of course, takes place against the backdrop of a constantly shifting legal and political climate regarding the regulation of different types of mood-altering substances.
What do all these substances actually look like when their essence is visually depicted?
Schönfeld squeezed drops of various legal and illegal liquid drug mixtures onto negative film which had already been exposed. Each drop altered the coating of the film.
Much like the effect of some of these substances on humans, this can be a lengthy process – sometimes one that can barely be stopped.
She then enlarged these negatives including the chemical reaction of the particular drug, to sizes of up to 160 x 200cm.”
4. Crystal Meth
8. Pharmaceutical Speed
The literal negative effects of drugs (on negatives)
“Master glassblower and stained glass artist Loren Stump in California has wowed the internet with an extraordinary display of virtuosity. He created a “loaf” of glass, called murrine, out of carefully layered glass rods that, when sliced, reveal a painstakingly detailed work of art in cross-section.
"The most impressive thing about his work is that the resulting image can only be seen in its entirety after the murrini is cut…"