View allAll Photos Tagged Hunger
My custom movie poster and tribute to one of my favorite films, 'Hunger' (2008), directed by Steve McQueen.
Her facial sculpt is special just for this doll. Her hair is in a braid and is packaged attached to her outfit.
More tiny writing . . . I enlarged the image so the words are readable here (I hope). This entry involves my complex relationship with food as well as geographic and social isolation.
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/
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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.
...
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.
Western Grebette
Malheur National Wildlife Refuge, OR
This Western Grebette called anxiously as it quickly swam toward an adult Clark’s Grebe that had a fish. The Clark’s Grebe dove down into the depths taking the fish with it when the grebette got too close causing the chick to abruptly stop and look around as if confused.
Perhaps the hungry grebette thought the Clark’s Grebe was its parent with a meal. Since grebe chicks and their parents develop ways to communicate through unique vocalizations, I'm not sure why, other than mistaken identity, it zoomed toward the Clark’s like it did. I did not see the grebette’s parents anywhere.
the Chandni Chowk free clinic
run by Sikhs, treating ( barely)
ulcers, infections with the most antiquated modalities.
These men and sometimes a lady are homeless, and many have AIDS, TB, STD's and other assorted illnesses.
This help center is long gone since they remodeled this very infamous street.
Chandni Chowk, the bustling heart of Old Delhi, weaves together centuries of history, culture, and commerce. This vibrant market, with its narrow lanes and chaotic energy, is a testament to India's rich past and its dynamic present.
in
Old Delhi
Photography’s new conscience
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
Angalaamman is a name given to the Tamil village deity.Mayana Kollai is the main function of Angalaamman festival where people disguise themselves as Kaali and roam in the streets.Once by the order of parvati, Shiva as "Rudra" removed one head of Brahma so Brahma now with four heads cursed Shiva that his fifth head(Kabala) must be attached to his hand itself and hereafter Shiva must be affected having hunger, having no sleep.Lord Vishnu advised parvati to goto thandakarunyam graveyard with shiva and serve food to kabala and then throw the food everywhere in the graveyard.The kabala will come down, leaving Shiva's hand, to eat the food and unable to find Shiva's hand it gets itself attached to parvati hand.She takes The fiercest form Angalaamman which destroyed the kabala
Kaveripattinam | Tamilnadu | Feb 2018
A malnourished young child in South Sudan cries in hunger while his grandmother futilely tries to console him. Hopefully, they made it to the hospital before it is too late.
My 'Hunger Games: Catching Fire" Finnick doll finally arrived last night but I won't be opening him until the other three dolls that I ordered arrive.
Exacerbated ritual mouths
Ace habit or screamed request
Black lips
Hunger is all
Resolution roulette
Nothing spoken of a
White habits final curtain...
(Man, that was pretty sombre, wasn't it? Blame Jason, he sent me a buncha cut-out words, with instructions to use 'em to create my own poetry-based image... I feel like I oughta be adding lines about scat and wamming and sh*t... ;) )
Collaboration with Jason Novak. Original montage: Luis Drayton; early 1994. Completed using cut-out words sent by Jason Novak; 08/03/11.
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
#AB_FAV_EMOTIONS_
LOL, never go shopping when you are hungry!
You crave everything you see and buy too much?
Here In Copenhagen, where they have so much great and different bread, the fragrance attracted me from afar.
thanks for your visit, so very much appreciated, Magda, (*_*)
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Bread, Copenhagen, display, variety, for, edible, hunger, craving, colour, Nikon D7000, horizontal, "Magda indigo"
Hunger: Do You Know The Facts?
It is estimated that one billion people in the world suffer from hunger and malnutrition. That's roughly 100 times as many as those who actually die from these causes each year.
About 24,000 people die every day from hunger or hunger-related causes. This is down from 35,000 ten years ago, and 41,000 twenty years ago. Three-fourths of the deaths are children under the age of five.
Famine and wars cause about 10% of hunger deaths, although these tend to be the ones you hear about most often. The majority of hunger deaths are caused by chronic malnutrition. Families facing extreme poverty are simply unable to get enough food to eat.
Lothian 723 is currently carrying a side advert for The Hunger Games Mockingjay part one. 723 is seen here on service 25 to Riccarton. 26th November 2014.
This piece was made in observance of world hunger. It breaks my heart to see children & adults who live in hunger.
You will notice the stamp. In my eyes I see this as actually saying Peace For Food. Because it is when you are fed that you can feel comfort and peace from the hunger and suffering.
Therefore I pray not only for peace but also for awareness that there is hunger in the world. I pray that each person suffering may be filled to comfort and well-being and live in peace and harmony.
©Tonya Ashe
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
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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.
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* Model Mayhem # 3763448
Untitled (Hunger 20), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4". Private collection.
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.