Monday, October 27, 2008
Tuesday, October 21, 2008
Natalie Shau
http://natalieshau.carbonmade.com/Natalie Shau is 24 years old artist from Lithuania (Vilnius), working mainly in digital media. Her pieces are mix between photo manipulation, 3D elements and digital painting/drawing. She enjoys creating surreal and strange creatures, fragile and powerful at the same time. Natalie’s style was influenced a lot by religious imagery, fairytales illustrations and many classical and modern painters. However, she is still searching for perfect expression that could totally convey her inner world and visions.
Sunday, October 19, 2008
Thursday, October 16, 2008
Talking Cat
I don't know why but this video just makes me fall to the ground laughing. I know. I'm a weirdo.
Brandt Peters
http://www.brandtpeters.com/
Artist Statement: Having grown up on the West Coast most of my life and coming from a family of uber ‘antique’ collectors and artists, my eclectic upbringing was filled with a wide range of ’Pop’ ephemera. Many of those inspirations now show up in my work and stem from the backdrop of my childhood.
The Subject of my paintings is a world of side-show icons, deviant Animalia, and ‘masked’ glorified cartoon alter egos. I utilize these icons and character cultures as antithetical counterparts to what we are lead to believe as being innocent and socially acceptable.
Although misfits on the surface, a sense of relation is understood, secret from the public - we are all misfits; hiding behind animated personas, odd and beautifully unusual. Who is it that we relate to? The lonely little boy hiding in a bear suite, the evil lustful pool-hall wolf, the sexualized little girl who secretly wants more. 
The environment and its limited population are meant to conjure these questions, the viewers are confronted with finding their own answers.
Artist Statement: Having grown up on the West Coast most of my life and coming from a family of uber ‘antique’ collectors and artists, my eclectic upbringing was filled with a wide range of ’Pop’ ephemera. Many of those inspirations now show up in my work and stem from the backdrop of my childhood.
The Subject of my paintings is a world of side-show icons, deviant Animalia, and ‘masked’ glorified cartoon alter egos. I utilize these icons and character cultures as antithetical counterparts to what we are lead to believe as being innocent and socially acceptable.
Although misfits on the surface, a sense of relation is understood, secret from the public - we are all misfits; hiding behind animated personas, odd and beautifully unusual. Who is it that we relate to? The lonely little boy hiding in a bear suite, the evil lustful pool-hall wolf, the sexualized little girl who secretly wants more. The environment and its limited population are meant to conjure these questions, the viewers are confronted with finding their own answers.
Men's Magazines from the Fifties
In the 1940s, the word "pinup" was coined to describe pictures torn from men's magazines and calendars and "pinned up" on the wall by U.S. soldiers in World War II. While the '40s images focused mostly on legs, by the '50s, the emphasis shifted to breasts. Betty Grable and Marilyn Monroe were two of the most popular pinup models. In the second half of the 20th century, pornography evolved into the men's magazines such as Playboy and Modern Man of the 1950s. In fact, the beginning of the modern men's glossy magazine (or girlie magazine) can be traced to the 1953 purchase by Hugh Hefner of a photograph of Marilyn Monroe to use as the centerfold of his new magazine Playboy. Soon, this type of magazine was the primary medium in which pornography was consumed.
These magazines featured nude or semi-nude women, sometimes apparently masturbating, although their genitals or pubic hair were not actually displayed. Penthouse, started by Bob Guccione in England in 1965, took a different approach. Women looked indirectly at the camera, as if they were going about their private idylls. This change of emphasis was influential in erotic depictions of women. Penthouse was also the first magazine to publish pictures that included pubic hair and full frontal nudity, both of which were considered beyond the bounds of the erotic and in the realm of pornography at the time. In the late 1960s, magazines began to move into more explicit displays often focusing on the buttocks as standards of what could be legally depicted and what readers wanted to see changed. By the 1970s, they were focusing on the pubic area and eventually, by the 1990s, featured sexual penetration, lesbianism and homosexuality, group sex, masturbation, and fetishes in the more hard-core magazines such as Hustler
These magazines featured nude or semi-nude women, sometimes apparently masturbating, although their genitals or pubic hair were not actually displayed. Penthouse, started by Bob Guccione in England in 1965, took a different approach. Women looked indirectly at the camera, as if they were going about their private idylls. This change of emphasis was influential in erotic depictions of women. Penthouse was also the first magazine to publish pictures that included pubic hair and full frontal nudity, both of which were considered beyond the bounds of the erotic and in the realm of pornography at the time. In the late 1960s, magazines began to move into more explicit displays often focusing on the buttocks as standards of what could be legally depicted and what readers wanted to see changed. By the 1970s, they were focusing on the pubic area and eventually, by the 1990s, featured sexual penetration, lesbianism and homosexuality, group sex, masturbation, and fetishes in the more hard-core magazines such as Hustler
Wednesday, October 15, 2008
Bill Ward
March 6, 1919 - November 17, 1998
Bill Ward`s long, prolific pin-up career began during World War II when he created a curvy distraction named Torchy for his fellow soldiers. His taste for impossibly buxom blondes—teetering on stiletto heels, legs encased in black nylon, torsos packed into satin gowns—precisely suited America`s collective postwar sex fantasy, and the late 50s men`s magazine boom made him the most popular girlie artist in the country.
Through the 1960s, 70s, 80s, and 90s, Ward broadened his range to embrace a variety of fetish subjects, but he never varied from his template of the Ultimate Woman—except to make her breasts a little bigger, her heels a little higher, or the satin and leather encasing her a little glossier. 
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