Hans Bellmer — Untitled (Hands Triptych), 1933-1934
Derek Paul Boyle — Mirror Step, 2013
Winston Chmielinski — Untitled, 2012
Cindy Sherman, from Untitled Film Stills, 1977-1980
Other artists had drawn upon popular culture, but Sherman’s strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones—those 8-by-10-inch glossies designed to lure us into a drama we find all the more compelling because we know it is not real.
In theUntitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The sixty-nine solitary heroines map a particular constellation of fictional femininity that took hold in postwar America—the period of Sherman’s youth, and the ground-zero of our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. (via)
anon no.7 - AnnCT 07/2011
Beetroot's Romeo and Juliet Poster
Every “Romeo” and “Juliet” in the entirety of Shakespeare’s play brought together with 55,440 red lines.
Sophie Calle — Voir la Mer (See the Sea), 2011
In Istanbul, a city surrounded by the sea, I met people who had never seen it. I took 15 people of all ages, from kids to one man in his 80s … once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready—for some it was five minutes and for others 15—they had to turn to me and let me look at those eyes that had just seen the sea.
The Persistence of Memory - Salvador Dalí
The Fall of the Damned - Peter Paul Rubens
Ophelia - Sir John Everett Millais
Miguel Laino — Black Portrait of a Poet, 2013