Danny Quirk, whose creative handling of anatomical illustration we’ve written about before, is back with more. This time he’s left paper behind in favor of human flesh. Thanks to io9.com for the story, and reader Breshvic for the lead.
Legendary music producer, artist, and underground luminary Kim Fowley grabs a scalpel and joins The Art of Bleeding’s fetish-friendly nursing staff in this doll hospital ether dream of nursery rhymes, anatomical striptease, and decidedly adult doll-women.
Again with our fascination for anatomical fetish fashions…
This link comes from the ever-tantalizing StreetAnatomy blog, describing the work:
This beautiful collection by Jemma Marie McLean, called Skinned Alive the Anatomical Structure is inspired by Leonardo Da Vinci’s anatomical drawings.
Jemma founded Purdy Corsetry after being disappointed by the quality and selection of what she found in New Zealand. She knew with her wealth of experience in sewing and degree in Fashion design from Massey University that she could make the best corsets possible.
Purdy Corsetry is located in Central Wellington, New Zealand. View all her latest work via Facebook!
Another strange combination of art with medicine, this time from doctor, Jon Tsoi “Master of Tao-Blindfolded-Inner Spirit Art-Medicine.” He explains his blindfolded mucking about with paint, canvas, and herbs as a means of balancing ourselves physically, mentally and spiritually. “My art is a remedy promoting a harmonious way of life. Furthermore, it is a prescription for a new wave of art…”
Holman’s early work took the form of experimental films that he screened at bars and nightclubs. However, the ongoing battle to engage a rowdy club crowd’s attention caused these screenings to quickly expand in scope and complexity to include live performance as well as film. Pushing this concept further, Holman formed his first performance art ensemble, TORTURE CHORUS in 1986, and began staging live shows in seminal NYC venues such as 8BC, The Kitchen, Danceteria and Franklin Furnace.
In 1987 Holman moved to Los Angeles where he co-founded THEATRE CARNIVALE, a neo-vaudevillian performance troupe/venue whose mandate was to showcase cutting-edge cabaret/club-based performance artists including Johanna Went, John Fleck and the Kipper Kids alongside exotic entertainment such as sword-swallowing strippers, professional magicians et al. Holman and Theatre Carnivale garnered rave press reviews (“LA’s Artaud”- Paper Magazine), ruffled the feathers of the cultural elite (“Avant Garbage reeking with cheap jokes, sex and violence!”- LA Reader) and succeeded in defining a new genre of nineties west coast performance art.
By the early 1990s Theatre Carnivale had evolved into a vehicle for Holman’s own work: a wild blend of comedy and eco-science involving ensemble casts, live musicians and surreal costumes and props. Throughout the 90s he received grants and staged productions in major venues across America, England and Japan (including NYC’s Kitchen, England’s Channel 4 TV and Tokyo’s International Theater Festival), also collaborating extensively with artists Johanna Went, Clam Lynch, Brian Routh and Tom Murrin in a side project entitled Bigg Mess.
It was at this point that Holman started making PAINTINGS after each performance, feeling that graphic images of the ideas, costumes and characters in the shows in many ways represented a more satisfying documentation method than relying exclusively on video footage. Solo exhibitions of these paintings took place at Bobo Gallery and Morphos Gallery in San Francisco, and the Onyx Gallery and EZTV Gallery in LA.
Also around this time, Holman was hired as an artist on CBS children’s TV series PEE WEE’S PLAYHOUSE and continued success in this field led to him forming, with his wife, artist Josephine Huang in 1993, his own independent animation company (W)HOLESOME PRODUCTS. This partnership went on to create and direct several innovative stop-motion animation and mixed media TV series including LIFE WITH LOOPY (Nickelodeon), WE ARE THE SHRIMPSKINS! (Nickelodeon), PHANTOM INVESTIGATORS (Sony/Warner Bros) and DUDLEY AND NESTOR DO NOTHING (Disney).
In recent years Holman has focused his artistic energies primarily on his painting work. Since 2006 he has had four solo exhibitions in Southern California (including a career retrospective at Track 16 Gallery in Santa Monica). His favorite themes of eco-science and man’s relationship with nature have been expanded in his latest works to include alchemical imagery and other vaguely mystical influences yet still retain his trademark twists of surreal humor. He has recently embarked on a series of ten portraits on canvas entitled “Feral Children”.
I love pre-modern art. It is an endless source of inspiration for me, a true bottomless well of ideas. Looking at some picture throughout the years, I can continue to find new elements in it, discover new qualities that I didn’t notice before. My real favourites would be Hans Memling, Enguerrand Quarton and Nicolas Poussin. I have definitely less interest for modern art.
More of her work can be found on her Flickr pages.
Our Halloween weekend extravaganza at the Steve Allen Theater will feature a rare live appearance by the enitmatic band/art-collective known as Bouncehausen. Preferring to perform under pitch black conditions only intermittently interrupted by seizure-inducing blasts from a strobe, this reclusive group have rarely been photographed. However, our sources assure us that the pitiable creatures featured in the photographs above are among its key members.
On October 28, 29, and 30th, Bouncehausen’s performance will take place indoors on the theater stage, before, during, and probably long after the outdoor show takes place. Intrepid visitors are invited to wander in and experience Bouncehausen at any point during the evening. During the course of their 72-hour performance they are expected to sustain and relieve themselves through intubation.
A spokesperson for the group has released this statement:
Bouncehausen will sonically recreate the exact moment of impact of a terrifying automobile crash, slow it down 300 million times and stretch it into one seven hour epic “song” that will take three days to play. If you are able to witness even a small part of this historic event you will have a much greater understanding of what it sounds like to exist on a molecular level as steel and glass twist and explode.
(WARNING: Bouncehausen contains members of Woodpussy, WACO, Millisecond Evolution and Gingerbread Swastika. Please be advised)