“A girl writes in a notebook she collected from a garbage dump in Lahore, Pakistan. Thousands of children pick recyclable items from waste dumping points to earn a living for their families.”
Image: American Wizarding via desire-vogue. “These pumps, crafted by Mexican designer Lucita Abarca, caused quite a stir at a recent Sixth Borough fashion show. These crystalline high-heels were grown by Wyrm’s Pass artisans, deep below the Rocky Mountains, using a mixture of firebird ash, waters from the springs at Paradiso, and a variety of secret ingredients, rumored to include Australian fire opals and powdered moonstone. The result of using the firebird ash become immediately recognizable when the heel of the shoe is dragged backward across any dry surface, as it creates an impressive streak of magical fire which can be accurately aimed with a little effort. Ms. Abarca said she wanted a shoe that made a statement, and that statement was “Any bastardo brujo catcalling me on La Plaza de Sangre better be ready to dose his huevos, you know?”
If you look quickly at Lee Price’s hyperrealistic paintings, you might mistake them for photographs. But the 44-year-old upstate–New York artist would rather you focus on the subject matter than the technique, which is, for the most part, women and food. Price, who studied painting at Philadelphia’s Moore College of Art, has a long held fascination with the intersection of these two subjects, inspired by her own experience. “The food thing came up because I’ve had issues with food ever since I was very young, and body image issues. I was always very thin but always trying to lose weight,” she says. “They’re very personal paintings.” In fact, the images—bird’s-eye views of women surrounded by luscious-looking desserts or the crumpled wrappers of a junk-food binge—are all self- portraits, painted from photographs of the artist. The life-size works show Price, often nude or in underwear, in unusual eating situations, like sprawled across a bed shoving a pastry in her mouth or crouched in the bath tub holding a full pie. On one level, her work is about compulsivity: the aerial view is meant to conjure the sensation of watching oneself engage in a compulsive behavior and being unable to stop it. That aspect seems to resonate for many— Price often hears her work referred to as “binge paintings” or “bulimia paintings.” But she asserts that the images of women in repose surrounded by unrestricted portions of decadent treats can also be seen as a kind of liberation from the constant monitoring of food choices that so many engage in. “In this society, there’s so much pressure for women to be thin. We’re not supposed to have appetites—and not just for food, but for a lot of things. We’re the givers and not the consumers, and I think some of my recent paintings are about the women staring at the viewers and saying, ‘I’m not going to censor my appetite,’” says Price.
In her music video for “Try,” Colbie Caillat takes a stance against Photoshop. She starts off the video looking like (as MTV put it) “a cartoonized version of Mariah Carey in a Dove ad” and proceeds to un-Photoshop herself, ending the song as her natural, unedited self, alongside a wonderfully diverse set of women, who undergo the same transition.
“When I shot the first scene with no hair and makeup on in front of an HD camera in my face, flashed with bright lights, everyone was watching,” she told Elle. “I thought, ‘Oh my god, I bet they’re all looking at my blemishes, thinking that I should cover them up, or that I should put some volume in my hair.’ But it also felt really cool to be on camera with zero on, like literally nothing on. And then when it got to the full hair and makeup, I actually felt gross. I was just so caked on.”
[…]Take your make-up off Let your hair down Take a breath Look into the mirror, at yourself Don’t you like you? Cause I like you