View allAll Photos Tagged Hunger
Food can sculpture------created by the ABB Inc team
Description
The joystick is the gadget of choice for controlling the ever ravenous hunger of the Pac Man
Being chased by the “ghosts” representing the fear people face very day in feeding their families
By everyone taking CAN-TROL of fear with our gadgets we can eliminate these hungry ghosts one can at a time
Ilustração(concept): Renan Porto
Figurino: Andrea Mafer
Produção: Helena Lopes
Ajudante: Caio Monteiro
Modelo: Soraya Marx como "Branca de Neve"
Creative Retouching: Milton Menezes
People who've been following my stream for a while will have seen the sister image of this one. I don't know how I missed this one earlier, but came by it today while organizing my files. The sister image I processed using some funky experimental effects. I left this one as is and did it all natural.
I'm actually extremely influenced to go all natural with little or not effects (cross processing, warming effects, muted looks, yellowed looks etc etc) after going throught boston Globe's "The big Picture" section. Those who haven't seen it should check it out. They collect the best press photos from different sources of worldwide events occuring/affecting us right now, and the quality of the images is mindblowing.
Hope you guys are having a great weekend so far. Happy Independence Day to all my fellow Indian peeps!
At this point, the hunger artist endured everything. His head lay on his chest - - it was as if it had inexplicably rolled around and just stopped there - - his body was arched back, his legs, in an impulse of self - preservation, pressed themselves together at the knees, but scraped the ground, as if they were not really on the floor but were looking for the real ground, and the entire weight of his body, admittedly very small, lay against one of the women, who appealed for help with flustered breath, for she had not imagined her post of honour would be like this, and then stretched her neck as far as possible, to keep her face from the least contact with the hunger artist, but then, when she couldn’t manage this and her more fortunate companion didn’t come to her assistance but trembled and remained content to hold in front of her the hunger artist’s hand, that small bundle of knuckles, she broke into tears, to the delighted laughter of the auditorium, and had to be relieved by an attendant who had been standing ready for some time. - Franz Kafka
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Untitled (Hunger 7), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.
English rock outfit Alt-J — named for the delta symbol that appears when pressing “Alt” and “J” on a Mac keyboard — deliver eccentric indie rock that experiments with rhythm, song structure, percussion, and space. Following the 2012 release of their critically acclaimed, award-winning debut, An Awesome Wave, they expanded their scope with 2014′s This Is All Yours and 2017′s Relaxer. First formed in 2008 under the moniker FILMS, the founding quartet — all of whom met at Leeds University — spent two years rehearsing before inking a deal with Infectious Records in 2011. Their signature blend of layered, folk-inflected dub pop and soaring alternative rock was first heard on the 2012 singles “Matilda” and “Fitzpleasure,” with the group’s full-length studio debut, An Awesome Wave, arriving later that year. The album would eventually go on to earn the prestigious Mercury Prize, alongside three Brit Award nominations. They soon became mainstays on the U.K. and European festival circuit, expanding outward with tours in the U.S. and Australia as well. The band’s increasing success and heavy touring schedule eventually led to the amicable departure of bassist Gwil Sainsbury at the end of 2013. The remaining trio of singer/guitarist Joe Newman, keyboardist Gus Unger-Hamilton, and drummer Thom Green continued undeterred, and their sophomore record, This Is All Yours, was issued in the autumn of 2014. Critically well-received, This Is All Yours debuted at number one in the U.K. and fared similarly well in Europe and the U.S., where they earned their first Grammy nomination. In early 2017, Alt-J issued a trio of singles, “3WW,” “In Cold Blood,” and “Adeline,” in anticipation of the release of their third studio long-player, Relaxer, which dropped later that June. While not quite as successful as its predecessor, the album sold well and earned them a second Mercury Prize nomination. In 2018 they released a remix album, Reduxer, which featured a selection of tracks from Relaxer reworked in conjunction with a raft of hip-hop artists including Danny Brown, Little Simz, and Pusha T. ~ Timothy Monger
Madrid, Spain
MADRID SERIES
Please, do not use this photo without permission
Por Favor no usar esta fotografía sin permiso
Anna Valeriya : "...I wonder if I'm even a human. No..no... I'm not one of your kind."
Viktor Marion : "Do not ever think in that way my dear. You are one of us... you can breathe, feeling hungry, greed, and willingness to learn something.. that's one of the things that make us human."
Anna Valeriya : "...Really?"
Viktor Marion : "Of course my dear. But you are the smartest woman I've ever met. I'm sure that you will find the answer of your own question someday. For now, don't think too hard about it. Shall we eat my dear? Your cook taste great!!!" :)
On our last vacation, I was lucky enough to immerse myself in the Scottish Cospley scene for about two hours. A fantastic experience. Thank you for your patience. More photos will follow on FLICKR soon.
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
Main Flickr Account // Facebook // Flickriver Most Interesting
Copyright: Not for any commercial use, web sites or printing without my written consent. Any posting of this image on twitter, facebook or the like are to be a LINK/share to this Flickr page or the my corresponding Facebook image only. Image freely available for personal use only as electronic screen wallpaper or screensaver.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
* My models, Please link & share rather than download and repost to your Facebook or sites, thank you.
* Model Mayhem # 3763448
My custom movie poster and tribute to one of my favorite films, 'Hunger' (2008), directed by Steve McQueen.
Wasn't sure about my minced chuck grilled burgers.
My wife was hungry, but she doesn't like being a guiena pig for just details of my cooking, so I made a complete slider for her to try.
Well, smaller than a slider actually, but she liked it.
It was supposed to be a tiny cheese burger, but the cheese slice was so small so I lost it and forgot about that little detail.
Some cooking pressure on me tonight.
Go figure: youtu.be/h61PbLOmyY0?si=8YUrLZUjaLEJ63gk
Her facial sculpt is special just for this doll. Her hair is in a braid and is packaged attached to her outfit.
A month and half old Ferdous, sick with malnutrition and cold, is held by his father Anwar.
They are alone. Mother has been taken to a hospital. Due to hunger and stress she couldn't feed the baby.
Ferdous is their first child. It needs miracle to survive.
October 27th, Kabul, Afghanistan
Personal work.
And as she sits there alone,
frozen in time, in love and life.
The hunger for warmth is there,
but is it within reach?
Can she reach for it,
Or will her heart be forever cold?
My profile at Deviantart: embrisionarts.deviantart.com/
My Facebook: www.facebook.com/EmbrisionArts
Please view large: View On Black
Credits:
Model: browse.deviantart.com/?qh=§ion=&q=magikstock#... (Purchased stock)
Background: Folkvangar store- www.folkvangar.com/store/index.php?main_page=product_info... (modified)
Butterfly + mask: Folkvangar store- www.folkvangar.com/store/index.php?main_page=product_info...
Fire: Renderosity store- market.renderosity.com/mod/bcs/index.php?ViewProduct=66610
Icicle: browse.deviantart.com/resources/?qh=§ion=&q=i...
Light: leonawindrider.deviantart.com/art/The-Lazy-Star-Brush-435...
Hair repainted.
Some other little elements painted and retouching.
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Copyright © 2010 ~ Gerbren/Brenda M. /Brenvisions
All rights reserved: All the materials/work contained in my gallery may not be reproduced, copied, tubed, edited, published, transmitted or uploaded in any way.
Being different is somewhat looked at in society as being a menace. In others, it's an act of rebellion, an act that shows pride. But in hearts like mine, it's something to strive for, because myself and others understand that what's seemed as right is wrong, and to prove yourself worthy to know, you must show how truly different you are. However, is the act of being different really all that easier than being normal? In the end, we all are striving just as much as the next person. It just matters what we are striving for, what we are hunger for- the act of being like everyone else, or the act of being unique.
Just a little drabble that was on my mind. This was taken with my new lens. Simple shot, but I like it.
Reread Catching Fire and half of Mockingjay today. Makes me crave the movie.
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Untitled (Hunger 3), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"
This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:
Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.
This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.
There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.
In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.
Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.