View allAll Photos Tagged provocation
[Eternus] Night Provocation Set FULLPACK by
Compatible with:
- Legacy+Perky
- LaraX
- Reborn+Juicy Boobs+Rolls+Waifu+Squish
- Maze
Frohes Fest (Merry festive season); Gelitin; 2010
Pink out of a corner (two jasper Johns); Lutz Bacher; 1963, 1991
Is a giant sculpture of a butt plug which shows a vague resemblance to a Christmas tree art, or meaningless provocation?
Opening my Flickr home page tonight, I was inadvertently struck that my last five posts as Flickr framed them might be seen as suggesting five schema for the study of architecture. And that the pursuit of these, collectively, if adhered to with a rigorous fervor and a poetic suspension of disbelief, might lead the student of architectural thought toward revelations of architecture's purpose.
I would welcome thoughts and discussion here if anyone is interested.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
From the beaches of the Andaman Islands.. a horned ghost crab,
ready to disappear into its hole at the slightest provocation...
Album: www.flickr.com/photos/santanu_sen/albums/72157696459223525
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Amstelveen - Cobra Museum.
Exposition: We Kiss the Earth - Danish Modern Art 1934-1948.
Artist: Erik Ortvad.
The Danish artists who started Cobra in 1948 had a lot of influence on the much younger Dutch and Belgian Cobra members. The focus is on developments in Danish modern art from the 1930s and 1940s, with important themes such as sexual freedom, politics, provocation, experimentation and spontaneity. Themes that would later have such a great influence on Cobra.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
*Mooning is the act of displaying one's bare buttocks by lowering the back side of one's trousers and underpants, usually without exposing the genitals. Mooning is used in some cultures to express protest, scorn, disrespect, or provocation. It can also be done for shock value or fun.
Word history
Moon was a common shape-metaphore for the butt in English since 1756, and the verb to moon meant 'to expose to (moon)light' since 1601, long before they were combined in US student slang in the verb(al expression) mooning "to flash the buttocks" in 1968.
Did you know!
Mooning with one's buttocks pressed against glass (for example, a car window) is known as a pressed ham.
(Ref: Wikipedia)
My note: (Against a computer screen....probably is pressed ham also!!!
Pot-Belly Pig Pressed Ham, Vietnamese Pot-Belly Pig, Granby Zoo, Quebec, Canada.
PixQuote:
"Unless a picture shocks, it is nothing."
-Marcel Duchamp
Maybe you would like to see the missing part of this image!
:: PORTFOLIO
For more lagniappe, click on the album with that title below. (To access the “lagniappe” album on your iPhone, click on the information icon at the bottom of this screen; then, when your next screen appears, scroll down just a bit, and you'll see that "album.")
Tomi Ungerer was the artist / illustrator which was invited in our libray for its inauguration.
Une citation de lui que j'adore et trouve salvatrice:
.../...
Sous couvert de provocation, Tomi Ungerer pose bien l’enjeu de la fiction :
offrir une surface de projection pour des émotions qui existent, que nos enfants connaissent ou connaitront, quoi qu’on fasse, pour qu’ils apprennent à s’y confronter et à les maîtriser.
.../...
A quote from him that I love and find lifesaving
.../..
Under the guise of provocation, Tomi Ungerer puts the stakes of fiction well:
To offer a projection surface for emotions that exist, that our children know or will know, whatever we do, so that they learn to confront and control them.
.../...
We inaugurate too an exposition around him:
One of my first i help to build.
I was /am proud to meet this great human and share many time with it, because i was his driver to the travel to his Paris's Hostel and our library each morning / night.
He stay with us one week, full time!.
Funny time, when we lived a big story in our establishment.
Big thanks to my passionate Dominique Tabah (my "Chief"), which make all these events possible.
Greenfinches are some of the most argumentative birds I've seen. They attack and quarrel with no provocation; the young birds are the worst and they show no fear in having a good fight with an adult male.
It is an ancient obligation. The emperor has to fly incessantly and never halt.
The king’s obligation is encoded in his very being. A visceral whisper prompts him to fly day and night. The primeval covenant has promised him paradise in a faraway jungle. His life does not have many reasons to be, so the king beats his wings to the ancient rhythm and flies over a vast land. But getting to the Promised Land is not easy. The path is gloomy and is ridden with savages and venomous sirens. Nightmares lurk at every corner and incubuses hiss melancholy all along. There are times when the king breaks down within as the dark horizon hardly budges despite flying for months. There is no jester to bring him a smile and the night only dims and threatens to ruin without provocation. Perched on the very edge of sanity, the king realizes he has only two options: succumb or fight back. And then… the royal arrogance takes over. The emperor of the vast land fights back.
Summoning spirits of his ancestors, he crafts magical wings. These wings are built with a mysterious parchment that lets heavenly light stain through setting his soul free in his mystic cathedral. His wings became his protective charm; his dreamcatcher. These charms let him seek his destiny without fear. His destiny, the King realizes in the stained light, is not the Promised Paradise but this very journey towards it.
Weaving his solitude into a hymn, the wandering Monarch thus flies forever in the symphony of his visceral whisper.
Architecture designed by architect Renzo Piano Building Workshop. "Provocations" exhibit by English designer Thomas Heatherwick Studio. Dallas, Texas.
canon EOS 1d mark IV
Model :Librarian_D Mayhem #1807041
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
this is not a teaser for Machete 2 or Nude Nuns with Big Guns II but just a bit of provocation and fun! thanks to LD who managed to pull out this shot with the perfect attitude, it was simply a great moment shooting this! hope you enjoy! ;-)
'A Map of the Sea and the De La Warr Pavilion' is Helen Cann’s newly commissioned mural for the De La Warr Pavilion’s Rooftop Foyer.
Cann’s drawing depicts the Pavilion facing a swirling sea of historic events and figures, current desires, provocations and predictions, and maritime details. Queen Cynethryth of 8th Century Mercia, the Pavilion’s architects, and the Maharajah of Cooch Behar, drift amongst spider crabs, sandbanks, the wreck of the Amsterdam, and a dinosaur whose footprints from the Mesozoic era were found on Bexhill beach. Ebbing and flowing throughout are comments and questions shared at community events, about how the Pavilion can collaborate with publics towards the creation of a more equitable, environmentally sustainable society.
The drawing is based on an Admiralty Chart that maps the seven-mile stretch between Norman’s Bay to the Pavilion’s West, and Bulverhythe to the East. While the map that Cann refers to accurately depicts the current shoreline, predictions about rising sea levels indicate that by 2050, many areas around the Pavilion may be subject to regular flooding, and the Pavilion may be completely under water in the future.
Helen Cann sees the area as “a border, constantly washing up visitors – invaders, tourists, migrants, refugees and those seeking health from a sunny beach and waters. And, of course, Pevensey Bay is part of the National Marine Conservation Area and home to a multitude of other creatures like shellfish, crabs, seahorses, and fish. This is an unconventional map, perhaps, but one that I hope gives a broader view of the place and its many layers.”
Helen Cann is an award-winning illustrator and artist with a special interest in mapmaking. Her illustrated maps have helped wanderers, armchair explorers, festival goers and nature lovers. They have appeared in books, TV and film props, folded small into brochures or shouting loudly as murals. Her personal work explores the intersection of place, flora, fauna, history, linguistics and community knowledge. She believes that multi-level mapping like this can lead to a deeper understanding and appreciation of the personal environment, resulting in the motivation to protect.
Previous clients have included Towner Gallery, the National Trust x the Cider Museum, Ditchling Museum of Art + Craft, Lionsgate Films, Ridley Scott Ass., MMoser Ass. x Unity Technologies, Bloomsbury, Octopus, BBC and HBO amongst others. She is the author of Hand Drawn Maps – a Creative Guide (Thames and Hudson).
(Source: The De La Warr Pavilion website)