I need a regular guy
The installation is overtly violent, but in the canned, theatrical way of professional wrestling. Professional wrestling, it would seem, appeals to that innate homo-erotic tension that lies just beneath the surface of all male relationships -- a kind of admiration, envy, and projection that is intrinsically connected to sexuality and prowess, but dances along the border, never breaking through the barrier of being fully, openly homosexual in nature. And yet. So, like that character is very much when I'm interested in: this juxtaposition of cordial presentation and then it's also very sexual.SEE VIDEO BY TOPIC: Everyday Normal Guy 2
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A Regular Guy
The installation is overtly violent, but in the canned, theatrical way of professional wrestling. Professional wrestling, it would seem, appeals to that innate homo-erotic tension that lies just beneath the surface of all male relationships -- a kind of admiration, envy, and projection that is intrinsically connected to sexuality and prowess, but dances along the border, never breaking through the barrier of being fully, openly homosexual in nature.
And yet. So, like that character is very much when I'm interested in: this juxtaposition of cordial presentation and then it's also very sexual. Flores wanted to poke at this bizarre crossroads of perceived masculinity, especially in connection to his own world and his own family. Interestingly, a female figure has entered the mix, standing at the entrance to the exhibit and looking on with an apprehensive look, "She's the first female figure I've ever made.
That one has been throwing me off too because I keep thinking my wife is in the room, and I want to go up and talk to her. For me, I see myself as a regular guy, I want to be a regular guy and I wanted to mess with what that definition means. This seems like a question in the center of our larger culture at the moment, as well, this idea of being in between, but the weeding out of homosexuality within straight male culture still persists. There's a lot of shit that I am trying to come to terms with through my work.
All photos courtesy of the gallery. Lead photo by John Martin Tilley. Grayson has organized this event to keep creativity flowing through various loans of classical surrealist works. The result is a diverse and layered collaboration of various eras. The exhibition space has been filled and documented slowly during this time in quarantine and is now open for the public to view online. Image courtesy of The Hole. Image Courtesy of The Hole. This grant is such a fantastic idea. Can you give us a little back story on how it came to be?
How did these art world figures become collaborators? When the pandemic hit, we had to rethink how we fulfill our mission of supporting artists. That first week, when NYC restaurants and bars shut down, we knew so many artists who lost service jobs they relied on for a basic living income.
We saw how our friends and community were affected. We decided to give a grant out that week, so we just made an Instagram post and a submission form and did it.
We put the post up on a Friday, and then over the weekend we thought it would be cool to get a guest artist to select the grant recipient. We asked Celia Rowlson-Hall, who our artist-in-residence Jenna Elizabeth has collaborated with, and she said yes! We saw a huge need, reconvened, and said, "Can we keep doing this for as long as we can? We all reached out to established art world friends that week to see who might be interested in supporting artists by selecting a recipient and amplifying their work.
Laurie Simmons was immediately in; she brought in others. We just kept building. Yes, you can exist at a subsistence level without art, but do we really want to!?? At the end of the day, you have to put your money where your mouth is, and directly support what you believe in. If you care about small businesses, make sure you buy from small businesses. If you believe in ethical production, then invest in ethical purchases whenever you can afford it.
If you care about art, give artists money! Yes, we plan on doing a version of our grant initiative every year. We are figuring out how we can continue to support the grant recipients and runner-ups selected by our guest judges. We are looking at partners to work with to build out the future of ILYSM4Artists, including but not limited to the grant program. We sat down with the artists to chat about their latest series, their creative processes, and the future of fashion as they see it post COVID Each look possesses a despairing, futuristic, sharp energy.
The red and black defy the spring colors that we typically equate with this time of year. Why the deeper and darker hues? I love supporting young designers for creative and sustainability reasons.
Our aesthetics are inherently dark; I tend not to see seasons in the conventional sense when I approach my work. What resources were used for this series, for example Photo Booth, iPhone camera, etc.? With all these new stay-at-home and DIY photo series and everybody learning to do that, do you think it will be detrimental to photographers post-isolation? BJ: I'm isolated completely away from my creative family.
We need their timeless work and new emerging photographers with each generation that emerges. I miss working with my creative collaborators and the teams of people I am so lucky to work with outside of my bedroom. Were you all talking on a group call when the direction was being advised? Did each of you individually style yourselves or have the styling come from one person while the other did another role?
We always knew our worlds made sense together, but it's been so great to actually see everything blend together. KJ: We both chatted about the concept via email. With isolation, now everyone is working virtually. It was the perfect time. With the no-face and the cowboy hat look, can I get a bit of an explanation on what is being expressed here?
I find the styling so intriguing. BJ: The corner store on my street has the latest headlines on the door everyday. Growing up, my parents had old newspapers from the wars, so I started buying the papers with surreal headlines. I collect print media like this, call me old-fashioned. Ask my friends in London stuck storing my stacks and stacks of magazines I use as a bedside table and refuse to get rid of. I saw a reference when curating the concept of paper on the face and thought it could be interesting to involve.
I'm not a model, so any excuse to be a more anonymous presence in my work was firmly seized. What advice do you have about staying genuine to your efforts in terms of being authentic when you have the world at your fingertips on your iPhone or computer? BJ: I think mind your business, and stay in your own lane.
Reconnect with yourself and sit with your ideas and your emotions. Absorbing so much information all the time makes it easy to just regurgitate ideas and information rather than creating something authentic.
Allow yourself the time to sit with your ideas and work on something great rather than rushing yourself to produce work we have already seen. We have an amazing opportunity right now to slow down; embrace it. With both of you having earned success in the art world, does the destructive or negative side of technology play a part in changing the way you view yourself or others around you?
How do you go about separating the online versions of your brands or yourself with the day-to-day version? I try not to overthink it. I really try to share humanity and compassion and speak on matters that mean something to me on my Instagram. Technology is what you make of it. With nowhere to go, it's almost like social media and the internet is somewhere to be with virtual everything right now.
In your opinion, how will that help support the fashion and art industries? This is a time to shed a light on our key workers, young artists and new ideas. The world is listening, journalists and editors need to stop giving us meaningless content that just feeds the beast of celebrity culture and use their power wisely. KJ: The idea of virtual runway shows, which we have seen with the announcement of London Fashion Week becoming gender non-specific and happening online, is something that will be exciting to witness.
We have had the capabilities to do this for years, and this pandemic has been a violent push to really embrace technology in ways we have not yet utilised en masse. It will be exciting to see the ways in which our industries move forward during this year and how we can potentially shift the way some parts of our industry function to have less of an impact on the planet by embracing technology. Is the use of technology in this series something you wish to see after self-isolation is brought to an end?
What would that look like through your eyes? It's such a subtle way to elevate or develop a project. More of this please. KJ: Working via our computers alone has opened up the possibilities of collaborating more easily from opposite corners of the globe.
I would love to see this embraced after isolation. With this series being about self-isolation, you were technically working alone. But with all of your collaboration efforts, you were also not exactly alone. What did you learn from this photoshoot that you wish to bring into existence once we aren't quarantined? BJ: I felt completely transported back two years to university with very limited resources, creating DIY Guerilla-style imagery from my tiny flat.
Working together via email and text was easier than it seems. Skip to main content. I see myself as a regular guy, I want to be a regular guy. Recommended articles. Recontextualizing the relationship between artist and curator at the Czech Center. Series by Aja DeWolf Moira , saudade, Is this an initiative that could continue "post-pandemic"?
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Mike Schaefer is having problems getting some. Bonds, always the spoiled superstar, looks aghast. Schaefer, seated in the right field bleachers and holding a Coke and two hot dogs sans ketchup and mustard, which he forgot at the concession stand , says he wouldn't mind having a date sometime this decade. Preferably, with a regular guy. Schaefer likes regular guys.
During this time of social isolation and working from home, some of us may miss those awkward interactions we have with co-workers every day. My new video series aims to help fill that void. Follow me on Instagram, Twitter or […]. When the Baltimore Improv Group moved to its current location at N.
Chock-full of smartass humor and a whole lot of attitude, Yoga for Regular Guys is an illustrated fitness program that men can relate to because Dallas understands the things men care about: improved strength and endurance, a better sex life, reduced stress levels, and maybe most importantly access to ridiculously hot yoga babes. Every chapter offers clear, step-by-step explanations of yoga poses and circuits along with hilarious full-color photos of 'regular guys' in action. Written in conjunction with Dr. So what are you waiting for? Several routines building in length and complexity. Lots of pose photo's. Very good book for the MAN!!
Now, in her third novel, the narrator Ann Atassi has been replaced by a third-person narrator recounting the adventures of young Jane di Natali, but the theme remains the same: the search for, and the attempt to understand, the absent father. This time the father is a millionaire biotechnology magnate named Tom Owens. Into Owens's charmed life comes Jane, born out of wedlock, raised in communes, and now dispatched into his care by a mother who is no longer capable of providing it; Tom is far from ready for this responsibility. Fans of Simpson's previous novels will not be disappointed by this excursion into the cracked world of family relations.
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