Since I am a small kid I have been amazed by the greek myths, my mom use to recount me each evening the stories of the greek heroes, monsters, goddesses and gods. she fed my imaginations by making me discover a world that would fit me perfectly. I started being passionate about it, and when I started being able to reed them, I would spent my days in my room reading multiple times the legends. And since that day my passion has never been bigger for it. one of my favorites greek authors is Homer, who wrote the metamorphosis. And I chose him, his book and his stories as the main object I while be working on.
boris mikhailov
“"BOMJI". It is a term made of capital letters, recently coined. It literally refers to those people without a stable residence, practically living in the streets, wherever they can stretch their bones.”
Renee Magritte
La magie noire , takes the motif of the metamorphosing nude figure placed in front of an idyllic landscape. Magritte had first explored the subject of La magie noire in 1934, a few months after participating in an exhibition, Le nu dans l’art vivant, at the Palais des Beaux-Arts in Brussels, and went on to paint numerous variations on the idea.
Frustration over desires appears frequently as the subject of Rene Magritte’s painting. A drapery prevents an intimate encounter between two people, transforming a love scene into a scene of dissatisfaction. The artists raises the question of how much do we really know other people, even the ones closest to us.
Iconography derives from his childhood trauma of witnessing his dead mother being dragged out of a river, with a veiled face.
Pygmalion and Galateamodeled 1889, carved ca. 1908–9
According to classical mythology, the sculptor Pygmalion so desired a marble woman he had carved that Venus, the goddess of love, granted her life. Rodin depicts the statue of Galatea quickening at the sculptor’s touch, her glowing body emerging from unfinished stone. Yet this Pygmalion is not the handsome youth of tradition, but rather a stocky, bearded man resembling Rodin, whose name is prominently inscribed next to the mythical sculptor’s on the side of the base. In his quest to endow his figures with living force, Rodin regarded himself as a modern Pygmalion.
Gérôme, Jean-Léon: Pygmalion and Galatea
Pygmalion and Galatea, oil on canvas by Jean-Léon Gérôme, c. 1890; in the Metropolitan Museum of Art, New York City. 88.9 × 68.6 cm.
Pygmalion by Jean-Baptiste Regnault, 1786, Musée national du château et des Trianons
Rodin challenged sculptural ideals by leaving his figures in varying states of incompletion. In this study for the marble Pygmalion and Galatea, the figure of Galatea emerges gracefully from a shapeless plinth. The truncated and faceless figure evokes the process of artistic formation through expressive fragments.
Auguste Rodin – Man and His Thought (1896-1900) (1
A flayed man holding his own skin
from Juan de Valverde de Amusco’s Historia de la composicion del cuerpo human (1556), 1556, Gaspar Becerra. Royal Academy of Arts, London
Jeff koons, Bourgeois bust, ca. 1991.
Bellmer’s first Doll was an articulated construction of wood, plaster, metal rods, nuts and bolts which represented a young girl. A disquieting sculpture, it embodied a number of qualities of the surrealist object: subversive and erotic, sadistic and fetishistic. A German artist bitterly opposed to the Nazi regime, Bellmer moved to Paris in the late 1930s where he was embraced by the surrealist group and was described in the 1938 Dictionnaire abrégé du surréalisme as a ‘surrealist writer, painter, and builder of large dolls.
Sherman is famous for taking photographs of herself posed, made up or masked to assume a range of imaginary people. Her Sex Pictures, however – which are currently on view in an exhibition which compares them with the works of the surrealist Hans Bellmer and other such engineers of the grotesque – do not feature her. They don't feature any real human faces or body parts. Instead, Sherman poses and dismembers plastic dolls in a variety of violent scenarios. Horror rather than eroticism is the dominant tone – although some of her Sex Pictures parody pornography, as when a female doll kneels for the camera, and there is even love, as two doll faces lie passionately close.
France-Lise MCGURN,12 Berkeley street, Simon lee
layered. diffusing. overflowing. pastels. makeup.
the changing perceptions of men’s relationships with artificial partners. It analyzes the mental leap doll users have taken from the horror of the uncanny to the seeming inevitability of accepting artificially intelligent beings as our friends, lovers, and perhaps even spouses. It explores the ethics of love and sex with dolls and gynoids, and considers the potential impact of the introduction of emotions such as empathy on human-gynoid relationships.
The book concludes with a comment on the tendency toward isolation and self-determination in the post-industrial world as a result of the global impact of technology, and discusses how gynoids will increasingly come to fill the void left by the lessening of human social interaction.
sander reijgers is a dutch artist based in utrecht who create assemblage sculptures using pieces from plastic blow up dolls. in his latest work reijgers has created a series of objects made by cutting and sewing together pieces from the sex dolls, including soccer balls, gloves and pieces of clothing. the works also comes with explicit titles that point out where the materials originated; ‘sexball’ and ‘titball’ are among these titles.
British museum permanent collection
looking at the movement of the draping on the body, how it shows delicateness of the fabric, the transparence created with one of the most hard mediums to work one: marble. Following the shapes of these bodies helped me seize the essence of their movement. I see beauty in them. freedom. lightness. celebration of each part of their body.
“Like a sculptor, if necessary,
carve a friend out of stone.
Realise that your inner sight is blind
and try to see a treasure in everyone.” ― Rumi
The Buste
As traditional people, Roman citizens considered family and ancestors of special importance in life, and consequently they were always striving for showing utmost respect for their roots. For example, in the case of a nobleman's death, a waxen mask of the deceased was made and placed on the family's altar, which was the most prominent place inside the domus. As these images only lasted few decades, the family used to order a marble bust that was placed on a shelf in the atrium along with other deceased members of the family, this way composing a genealogical chart. Oddly enough and when not displayed, the death masks of the ancestors were usually worn by family members during funerals.
Contempt is the story of the end of a marriage. It is the first nouvelle vague movie I watch when I was 10. Nouvelle vague movies are very long and need to be perceived in a very artistic way. It has been my favorite movie for years and I continued watching it non stop. The plot is that Camille falls out of love with her husband Paul while he is rewriting the screenplay Odyssey by American producer Jeremiah Prokosch . Just as the director of Prokosch's film, Fritz Lang, says that The Odyssey is the story of individuals confronting their situations in a real world, Le Mépris itself is an examination of the position of the filmmaker in the commercial cinema. but what I saw in it is more the similarity between the greek tragedy and our society and how we handle love and marriage.
" Now it's no longer the presence of God, but the absence of God, that reassures man. It's very strange, but true."
Jerry Prokosch:
I like gods. I like them very much. I know exactly how they feel - exactly.
Fritz Lang:
Jerry, don't forget. The gods have not created man. Man has created gods.
Camille Javal:
You like all of me? My mouth? My eyes? My nose? And my ears?
Paul Javal:
Yes, all of you.
Camille Javal:
Then you love me... totally?
Paul Javal:
Yes. Totally... tenderly... tragically.
Agalmatophilia (from the Greek agalma 'statue', and -philia φιλία = love)
is a paraphilia involving sexual attraction to a statue, doll, mannequin or other similar figurative object.
The attraction may include a desire for actual sexual contact with the object,
a fantasy of having sexual (or non-sexual) encounters with an animate or inanimate instance of the preferred object,
the act of watching encounters between such objects,
or sexual pleasure gained from thoughts of being transformed or transforming another into the preferred object.
Agalmatophilia may also encompass Pygmalionism (from the myth of Pygmalion),
which denotes love for an object of one's own creation. Agalmatophilia is a form of Object sexuality.
Roman, AD 100-300, Marble
This figure's hollow eyes were probably once filled with colored glass, and the drill earlobes held earrings. It probably was also painted, but what I find intriguing is that I find this version of it, completely destructed by time and colorless, leaving us perceive the white granulated and brutal marble, much better then the older and painted version. I love her hips, her destructed arms and the loss of her legs and the whole in her eyes. the beauty in these sculptures are their imperfections created threw time.
Franko B
I Miss You 2003
Performed as part of Live Culture, Tate Modern, 30 March 2003
Combat de pierres 1931 Claude Cahun Tirage gélatino-argentique 21 x cm Collection particulière © Photo Béatrice Hatala Claude Cahun
Marina Abramović and ULAY. Relation in Space. 1977
detail from German photographer Umbo’s Träumende (The Dreamers), 1928-9.
During a walk in London with no intentional goal of finding inspiration, I bumped in the Hauser & Wirth gallery, that is exposing the work of Alina Szapocnikow, with consisted of exactly the work I was researching about, using the plaster and resize for the most of her work. I think tho that I might use more plaster for my experiments related to sculpture. But I would like to find a new way to combine the white and cray aspect of marble and also the colors used and paints of the ancient sculptures and also make the unreal become reality.
Alina Szapocznikow, Noga, ( leg ), plaster, 1960
THE SEX DOLL
Ovid’s Metamorphoses. The second is in Aeschylus’s Prometheus. Shelley is vague as to how, exactly, her creature comes to life. There are, however, hints at familiar nineteenth century motifs such as grave-robbing and ani- mal vivisection: “Who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay? ... I collected bones from charnel- houses; and disturbed, with profane fingers, the tremendous secrets of the human frame.”1
Shelley was heavily influenced by the contemporary scientific fasci- nation with the possibility of regeneration.2 She was also keen to raise the spectre of the separation of biology from the scientific creation of life. This is evinced in the text by Victor Frankenstein’s total abandonment of nur- turing and responsibility for his unfortunate creation. This point is empha- sized by Dr. Siv Jannsen in his introduction to the Wordsworth Classic version of the text. “The novel articulates a confrontation between a sci- entific pursuit seen as masculine and a feminine ‘nature’ which is perverted or destroyed by masculinity.”3
Benign selfishness and ignorance about nurturing his creation is what brings Victor Frankenstein and his immediate circle of family and friends to ruin at the hands of the misunderstood monster.
This notion of a lack of empathetic nurturing of the delicate female psyche is prevalent throughout literature in terms of male/female relation- ships. Women with their wild, illogical passions drive men to distraction, unwittingly causing them to commit acts of violence in their attempts to control and constrain female desire. The great nineteenth century English poet Robert Browning produced two works which illustrate this conflict succinctly. “Porphyria’s Lover” or “Porphyria,” first published in theMonthly Repository in January 1836, is voiced by an unnamed protagonist who recounts how he killed his illicit lover Porphyria by strangling her with her own hair, just so that he can keep her forever. The excerpt at the head of Chapter 9 is taken from this poem. Tormented by his free-spirited lover, the protagonist concludes that the only way to dominate her is to overpower her with violence, thus bringing her completely under his con- trol.
In a similar vein is Browning’s later poem “My Last Duchess,” first published in 1842 in his Dramatic Lyrics. The protagonist, based on a real historical figure, Alfonso, the duke of Ferrara from 1559–1597, entertains
144
an emissary come to negotiate his marriage to the daughter of another powerful family. He shows the visitor around, lingering at a painting of his former wife, also a young girl. As the duke’s reminiscing becomes more detailed, the reader gradually realizes that the duke had the former duchess killed for what he perceived to be her feminine wiles. The duke regarded his wife as nothing more than a chattel, one of his possessions. He admires the painting because unlike the girl it is modeled on, it contains only an outer beauty and none of the troublesome inner qualities, such as freedom of thought or emotion. Like the subject in “Porphyria’s Lover,” both women are victims of the masculine desire to impose a rigid morality on female behavior. For the Victorians of Browning’s day, undergoing increas- ing industrialization and social complexity, the desire to control behavior and constrain it to a generic level of acceptability were of the utmost importance. The victims of this constraint were usually women and chil- dren.
louise bonnet
Hollywood 1 and 2
2019 182.9 x 152.4 cm
THE SEX DOLL
Ovid’s Metamorphoses. The second is in Aeschylus’s Prometheus. Shelley is vague as to how, exactly, her creature comes to life. There are, however, hints at familiar nineteenth century motifs such as grave-robbing and ani- mal vivisection: “Who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay? ... I collected bones from charnel- houses; and disturbed, with profane fingers, the tremendous secrets of the human frame.”1
Shelley was heavily influenced by the contemporary scientific fasci- nation with the possibility of regeneration.2 She was also keen to raise the spectre of the separation of biology from the scientific creation of life. This is evinced in the text by Victor Frankenstein’s total abandonment of nur- turing and responsibility for his unfortunate creation. This point is empha- sized by Dr. Siv Jannsen in his introduction to the Wordsworth Classic version of the text. “The novel articulates a confrontation between a sci- entific pursuit seen as masculine and a feminine ‘nature’ which is perverted or destroyed by masculinity.”3
Benign selfishness and ignorance about nurturing his creation is what brings Victor Frankenstein and his immediate circle of family and friends to ruin at the hands of the misunderstood monster.
This notion of a lack of empathetic nurturing of the delicate female psyche is prevalent throughout literature in terms of male/female relation- ships. Women with their wild, illogical passions drive men to distraction, unwittingly causing them to commit acts of violence in their attempts to control and constrain female desire. The great nineteenth century English poet Robert Browning produced two works which illustrate this conflict succinctly. “Porphyria’s Lover” or “Porphyria,” first published in theMonthly Repository in January 1836, is voiced by an unnamed protagonist who recounts how he killed his illicit lover Porphyria by strangling her with her own hair, just so that he can keep her forever. The excerpt at the head of Chapter 9 is taken from this poem. Tormented by his free-spirited lover, the protagonist concludes that the only way to dominate her is to overpower her with violence, thus bringing her completely under his con- trol.
In a similar vein is Browning’s later poem “My Last Duchess,” first published in 1842 in his Dramatic Lyrics. The protagonist, based on a real historical figure, Alfonso, the duke of Ferrara from 1559–1597, entertains
144
my initial idea was to work the different tones of the marble threw its agings. The chromatic palette covered by the varieties of marble in warm tones can range from broken white, cream, beige or ivory to pale yellows, sand, ochre, toasted and even orange or pinkish.But I realized then that I wanted to concentrate myself on the suclptor in her most realistic aspect. So I will be going back win time and use different colors from the original paint applied on the sculptors by the ancient greek.
With modern technology, it is easier to re-create ancient polychrome sculpture
. Photograph by Mark Peckmezian for The New Yorker
A terra-cotta statue of Eros, from the third century B.C.
Traces of blue and purple pigment can be seen on the wings.Courtesy Metropolitan Museum of Art
Computer Generated Imagery (CGI) is expensive and extras are difficult to handle, besides costing money. The Inflatable Crowd Company offers the alternative – plastic, inflatable mannequins, thirty thousands of them for use in movies where large crowd is required. The company was formed in 2002 for creating crowd scenes for the Hollywood movie Sea Biscuit. Their inflatable crowd have since appeared in over 80 feature films including many memorable ones like The King’s Speech, Frost/Nixon, American Gangster, Spiderman 3 and many more. These plastic men and women were featured in many TV shows and commercials as well.
THE SEX DOLL
Ovid’s Metamorphoses. The second is in Aeschylus’s Prometheus. Shelley is vague as to how, exactly, her creature comes to life. There are, however, hints at familiar nineteenth century motifs such as grave-robbing and ani- mal vivisection: “Who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave, or tortured the living animal to animate the lifeless clay? ... I collected bones from charnel- houses; and disturbed, with profane fingers, the tremendous secrets of the human frame.”1
Shelley was heavily influenced by the contemporary scientific fasci- nation with the possibility of regeneration.2 She was also keen to raise the spectre of the separation of biology from the scientific creation of life. This is evinced in the text by Victor Frankenstein’s total abandonment of nur- turing and responsibility for his unfortunate creation. This point is empha- sized by Dr. Siv Jannsen in his introduction to the Wordsworth Classic version of the text. “The novel articulates a confrontation between a sci- entific pursuit seen as masculine and a feminine ‘nature’ which is perverted or destroyed by masculinity.”3
Benign selfishness and ignorance about nurturing his creation is what brings Victor Frankenstein and his immediate circle of family and friends to ruin at the hands of the misunderstood monster.
This notion of a lack of empathetic nurturing of the delicate female psyche is prevalent throughout literature in terms of male/female relation- ships. Women with their wild, illogical passions drive men to distraction, unwittingly causing them to commit acts of violence in their attempts to control and constrain female desire. The great nineteenth century English poet Robert Browning produced two works which illustrate this conflict succinctly. “Porphyria’s Lover” or “Porphyria,” first published in theMonthly Repository in January 1836, is voiced by an unnamed protagonist who recounts how he killed his illicit lover Porphyria by strangling her with her own hair, just so that he can keep her forever. The excerpt at the head of Chapter 9 is taken from this poem. Tormented by his free-spirited lover, the protagonist concludes that the only way to dominate her is to overpower her with violence, thus bringing her completely under his con- trol.
In a similar vein is Browning’s later poem “My Last Duchess,” first published in 1842 in his Dramatic Lyrics. The protagonist, based on a real historical figure, Alfonso, the duke of Ferrara from 1559–1597, entertains
144