David Wojnarowicz wore this jacket in 1988, just 4 years before he’d ultimately die from AIDS. Sadly, just a few years ago some of his artistic work was censored at the Smithsonian. People in power are still content to try and erase his history and the continued struggles of people with AIDS
everyone everywhere please please please reblog this important artist.
Isobelle Ouzman is a 24-year-old Brit currently based in Seattle, WA. She
carves intricate 3D illustrations into discarded books.
I am a quiet lady with a wild imagination and a fascination for all things nature and fairytale related. Everything I make uses repurposed or recycled materials and I’m trying my best to keep it that way.
I am a life-long bookseller and avid reader. I began making these book sculptures when struggling to come up with a gift for my boss, celebrating the ten year anniversary of her bookstore. There was no book I could give her that she hadn’t already discerned, so I decided to take a favorite book of poems and reconfigure it into a tree. Dismantling a book is not done without consciousness. Books are precious items. All the books used in my art have been loved and read, and are chosen because of their particular worth. Taking apart text, line by line, I like to think I am reading these books in a different way. Words take on different meanings when isolated or spun into a physical form. These art pieces are an attempt to read words as objects.
What if oxygen is poisonous and it just takes 75-100 years to kill us?
My science teacher said he thinks that’s true actually
Yeah this is actually pretty much exactly what is going on. It’s why anti-oxidants are such a big deal. Bonus fact: oxygen oxidizes stuff in your cells or, in other words, it’s not toxic, just setting you on fire
very very slowly.
What if there are aliens out there but they subsist on entirely different substances and they’re just scared as shit of us and our crazy ass hell planet? Once in a while some alien anthropologist type suggests checking out the people on this inhabited planet out towards the galaxy’s edge. The other aliens just look at the naive academic with horror. No!! We do not go to that world. That is where the DEATH BREATHERS live. They recreationally consume poisons and are more or less composed of biological fire. Their atmosphere is made of rocket fuel. We must leave the DEATH BREATHERS in peace. Do not go there. Do not.
I tend to always reblog posts about humans being terrifying weirdos to aliens.
okay but…that is actually what went down on earth about 2.5 billion years ago.
Earth was doing just fine with a mostly nitrogen/carbon dioxide atmosphere and everyone was happy to go on living in anaerobic bliss and then cyanobacteria suddenly hit the scene, altered the atmosphere composition so that there was a ton of oxygen gas and killed practically everything (97% or more of all species on earth).
We are literally descendants of the DEATH BREATHERS and cyanobacteria is our deadly mother.
The cyanobacteria holocaust is so big, it doesn’t even have a cool name; it’s just called “The Great Oxygenation Event”; the *second* most apocalyptic extinction event in our planet’s history is the one that’s called THE GREAT DYING (the Permian-Triassic event, about 252 million years ago).
This shit makes like the rock-throwing that wiped out the dinosaurs look like kindergarten.
The Great Dying is my absolute favorite nickname for an epochal event.
Here is a sampling of preliminary sketches done by @yumbles, @boyasun, and @mrockefeller in the initial planning stages of the 5 Worlds series over two and a half years ago. A lot has changed since these early explorations!
Some color model sheets and preproduction work for the 5 Worlds series by @yumbles, @boyasun, and @mrockefeller created before starting work on the first book. All designs are based on characters and locations created by @marksiegel and his brother Alexis.
Only a short time until 2017 and a handful of months until the launch of The Sand Warrior! More updates coming in the new year!
(noun) A Germanuntranslatable word, sehnsucht is described an intense longing and yearning for something far away and vague, something which is difficult to describe. Similar to the Portuguese word saudade, it describes all facets of life that one finds unfinished or imperfect. This longing is a form of coping with life’s unattainable desires. The profound emotions are usually both positive and negative and are ambiguous. (via wordsnquotes)
god i can never stop thinking about certain sculptures used in modern art and how they can be used to elicit the beautiful and terrible feeling of true and genuine horror in ways that a lot of horror movies can never do
like when you ask people “what is horror?” they’ll tend to give examples of monsters, of killers, of dark places, of sharp teeth and too many legs and lots and lots of blood. which is true, that can be used as horror! but i’d like to call that “the horror of being eaten/hurt/killed” or more succinctly “the horror of vulnerability”. it’s a horror that something, whether it’s a killer or a monster or some phenomenon, has the ability to cause us harm. we see large amounts of teeth and we think “that thing is going to tear us to pieces with those teeth” or we see spilled blood and we think “someone has been hurt, there’s a chance we can be hurt too by whatever spilled this blood”.
but what certain modern sculptures can do is elicit a very physical visceral reaction of a completely different kind of horror.
it’s “the horror that something is a thing that SHOULD not exist, and you are absolutely powerless to understand what it is, but it is existing in your space, right now, it is real and you cannot make it unreal no matter what you do”
or perhaps, in a shorter fashion, it’s “the horror of wrongness”
like one of the sculptures that made me feel this way is this sculpture here, named “Monekana” located in the American Art Museum in Washington D.C:
“okay,” you say, with a shrug. “it’s a horse made of wood? what’s so scary about that?”. but this is the lie of the photograph! a photograph of a sculpture rarely grasps the experience of standing next to a sculpture. you have to picture yourself walking into this room, practically devoid of people, and coming face to face with this sculpture that is very large and very real.
and your brain screams that “THIS IS WRONG. MAKE IT GO AWAY. THIS IS WRONG”, like at any moment you expect it to move, to twist its head, to follow you with eyes that aren’t simply there. it looks like a horse but it is no horse. you could almost argue that maybe it isn’t even an art piece at all, but it wandered in from god knows what kind of world and it’s blending in with everything else. maybe it’s fooling you. maybe it isn’t.
anyways, i’m not trying to say that this sculpture in particular is SUPPOSED to be scary, it may make other people feel nothing at all (or even positive feelings!), but what i’m trying to say is that feeling i had that day, when i saw this thing, when i felt this fearful instinct to stay away and not stare, it’s THAT feeling that i feel so many writers and makers of horror don’t completely understand. you don’t need teeth. you don’t need blood. you don’t need to make Spooky Scary Skeletons or chainsaw-wielding villains. all you need is to create something wrong in its existence, something to make parts of us fear the fact that we can’t entirely rationalize what we’re seeing.
The experience of sculpture absolutely gets lost in images. I’ve walked into museums and been like WOW THE FUCK even when I knew it was coming.
I love this subject, though. I love “implication horror.” You see something, and the realization of what it means, which often comes a few moments later, is where the real horror lies—not in how splattery or gratuitously shocking it is. The wrongness of a thing in fiction, when done well, is the best. I was watching Melancholia the other day, and what a terrifying example of wrongness horror.
Anyway this is such a great post thanks for putting the whole idea into words so well. <3
This is how I feel about wind turbines (I tried to walk up to one once and felt the most inexplicable terror I’ve ever felt in my life), or most things that are ridiculously large, for that matter. Ships fascinate me but make me feel very uneasy. Certain buildings, especially if they look old-timey in any way kind of freak me out.
Examples: The Halifax shipyard building made me feel almost nauseous, and I have to drive past this cold storage building in Winnipeg every time I go to visit my boyfriend’s parents. I do not like it one bit.
Also, I got to see that sculpture of a giant newborn baby last year. That was very surreal in the way that is described here.
WHAT AMAZING ADDITIONS TO THIS POST, thank you! I didn’t know of Kalus Pinter’s work and now I REALLY want to see it for myself, goodness.
Honestly, I’m so glad so many people have responded and reblogged this post with examples and stories of their own!! It’s so cool to see just what people think and perceive as this horror of “wrongness”. I also see some people saying that this is essentially the uncanny valley effect, which is only an aspect of this kind of horror - the uncanny valley primarily deals with something we perceive that looks close to human and yet doesn’t quite make it there. It’s just one subset of a really uneasy sort of horror that can be found in so many forms, which may really honestly differ from person to person.
Overall, THIS HORROR IS WIDELY UNDERUSED IN FICTION and I’m so glad to see so many examples of it posted here!!
I feel this way about kangaroos. If you really look at a kangaroo for a minute it’s deeply unsettling, they’re bipedal and they have insane abs and they move wrong, it’s too human and I get that creeping horror that this thing exists. If I look at kangaroos too long I feel like I’m going insane
Louise Bourgeois’s spider sculptures did this to me, a bit. It was less the shape than the form–the lumpiness, the uneven shine–but mostly it was the scale. Most of these examples of horror don’t feel quite so wrong when they’re at a scale we can look “down” on. But when they overshadow us, or at least when they overshadow our general certainty of control, even for just a moment, the disorientation can slip suddenly into horror.
consider the Gelitin collective’s enormous pink rabbit left to rot in the Italian alps for the next 10 years
Eoin Mc Hugh - The Ground Itself is Kind, Black Butter, 2014
Kiki Smith’s lilith sculpture is more humanoid but i feel like it belongs on this post because walking into the stairwell in the met and seeing this fucking thing was one of the most unnerving experiences in my life