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Tracey Emin is a notable and prolific British artist recognized for her place in the Young British Artists movement of the 1990s. Tracey Emin's tent containing all the names of everyone she ever slept with raised eyebrows. Her conceptual piece 'My Bed' a dishevelled and unhygienic art students bed inspired by a four day depressive episode when she stayed in bed and consumed nothing but alcohol. The piece was met with mockery, some critics treated it as a farce and that anyone could display a bed, Emin replied "Well, they didn't, did they? No one had ever done that before."

Emin often explores her turbulent childhood and sexuality, her art is often described as confessional. 

She works in a wide variety of media including neon lighting, needle point, and photography. More recently she has concentrated on her anguish driven paintings and Tracey Emin nudes are highly sort after.

https://www.royalacademy.org.uk/article/tracey-emin-jennifer-higgie-interview

Tracey Emin, I never Asked to Fall in Love - You made me Feel like This, 2018

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#kiko mizuhara#takashi homma#purple magazine

Kiko Mizuhara Purple n°43 (S/S 2025) ph. Takashi Homma

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Cremaster 4

Cremaster 4 is part of The Artangel Collection. Since its initial presentation in 1994, it has been screened at Whitechapel Gallery in 2014 and Flatpack Festival, Birmingham in 2017.

Artist: Matthew Barney

Title: Cremaster 4

Date: 1994

Medium: Single-channel video.

Dimensions: Overall display dimensions variable

Duration: 43 minutes

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YVES KLEIN

(1928-1962)

Yves Klein est un artiste français célèbre pour son invention de l’IKB (International Klein Blue). De ses monochromes aux anthropométries, en passant par l’emploi du feu et de l’or, Yves Klein a conçu des œuvres qui traversent les frontières de l’art conceptuel et de la performance.

https://yvesklein.com/

Yves Klein, Stills (part two) from La spécialisation de la sensibilité à l'état de matière première en sensibilité picturale stabilisée, 1958

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Beautyfull cover! #vogue#vogue portugal#sara sampaio

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In the late 1970s, Dieter Rams was becoming increasingly interested in the world of things that surrounded him – “an impenetrable confusion of forms, colours and noises.” As a designer, Rams was aware that he played an important role in the world he was helping create, he asked himself an important question: is my design good design?

https://designmuseum-org.translate.goog/discover-design/all-stories/what-is-good-design-a-quick-look-at-dieter-rams-ten-principles?_x_tr_sl=en&_x_tr_tl=pt&_x_tr_hl=pt&_x_tr_pto=tc

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Michael Eastman has established himself as one of the world's leading contemporary photographic artists. The self-taught photographer has spent five decades documenting interiors and facades in cities as diverse as Havana, Paris, Rome, and New Orleans, producing large-scale photographs unified by their visual precision, monumentality, and painterly use of color. Eastman is most recognized for his explorations of architectural form and the textures of decay, which create mysterious narratives about time and place.

https://www.eastmanimages.com/home

Michael Eastman, Havana, Cuba

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Wow, simple cover_black and pink!

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Balkan Baroque (1999) is presented as a "real and imaginary biography" of Marina Abramović, the celebrated Yugoslav performance artist widely regarded as a trailblazer in her field. Directed by Pierre Coulibeuf, the film departs from conventional documentary storytelling, opting instead to weave a fragmented, non-linear narrative that reinterprets Abramović’s life and work into a distinct cinematic experience. Rather than merely documenting her biography or replicating her performances, it fuses reality with imaginative elements, creating a new lens through which to view her art and existence.

The film delves into Abramović’s personal history, shaped by her strict upbringing in Tito’s Yugoslavia under the influence of her disciplined, Communist parents. This formative environment, coupled with the chaos and brutality of the Yugoslav Wars, profoundly impacted her perspective and artistic expression. Through her performances, Abramović probes the boundaries of physical endurance and psychological resilience, themes that the film reflects in its exploration of her identity as both an artist and a product of her tumultuous cultural context.

The title Balkan Baroque is drawn from her striking 1997 Venice Biennale performance of the same name. The performance lasted six days, with Abramović working four hours each day, totaling 24 hours over the course of the piece. During this time, she sat scrubbing 1,500 bloody cow bones while singing traditional Yugoslav folk songs. This act was a haunting meditation on the Yugoslav Wars, embodying the trauma, loss, and violence of the conflict, as well as the seemingly impossible task of purging its lingering wounds. Though the film does not directly reenact this performance, it embraces its evocative themes—grief, aggression, and the struggle for redemption—as a framework to illuminate her broader artistic journey and personal narrative.

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SANAA Receives 2025 Royal Gold Medal for Architecture | RIBA Honours Sej...

SANAA, the collaborative practice of Japanese architects Kazuyo Sejima and Ryue Nishizawa, are announced as the recipients of the 2025 Royal Gold Medal by the Royal Institute of British Architects (RIBA). One of the world’s highest honours in architecture – presented on behalf of His Majesty the King – the medal recognises SANAA’s work to reshape the global design landscape, creating spaces that bring simplicity, light and elegance to the fore. Read more on our RIBA website: https://www.architecture.com/awards-a... RIBA President, Muyiwa Oki, presents the ceremonial medal to Sejima and Nishizawa ahead of His Majesty, King Charles III officially presenting them with the medal at a private ceremony later in 2025, marking the first time since 2009 that the medal will be awarded by the reigning monarch in person. Prioritising inclusivity and accessibility, SANAA’s hallmark is a deep commitment to creating places that bring people together and inspire collaboration.   Notable works over the course of their career include, the Dior Omotesando Store, Japan (2003); 21st Century Museum of Contemporary Art in Kanazawa, Japan (2004); Zollverein School of Design, Germany (2006); Serpentine Gallery Pavilion, UK (2009); Louvre-Lens in France (2012); Grace Farms, USA (2015); and Sydney Modern, Australia (2022).

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PIERRE FRANCIS KOENIG, FAIA (1925-2004)

Koenig was born in San Francisco and his family moved to Los Angeles in 1939. After attended the University of Utah in Engineering, he served in the Army from 1943-1946 then attended Pasadena City College, and USC-LA, graduating in 1952. He apprenticed with Raphael Soriano; Edward Fickett; Kistner, Wright and Wright; and Jones and Emmons. He established a private design practice in 1952 and was known for exposed steel-and-glass buildings. While in practice, he taught at the USC School of Architecture for 40 years. He was named both Distinguished Alumni and Distinguished Professor at USC in 1998.

Pierre Koenig Case Study House No. 21 via Are.na

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The late Japanese fashion designer Issey Miyake held a rare appreciation for the role of image-making in design creativity. His longstanding working relationship with the photographer Irving Penn, whom he called Penn-san, is testament to Miyake’s understanding of how he could regard his work anew, by looking at it through the creative eye of another. 

When Miyake saw how Penn had photographed his clothes for an American Vogue editorial in 1983, he exclaimed, “Wow! I never thought of looking at clothes in that way! The clothes have been given a voice of their own!” On one page a model held out the wide-cut legs of a drawstring jumpsuit she wore, drawing attention to the volume of fabric and accentuating the garment’s graphic shape. 

https://www.famsf.org/stories/irving-penn-issey-miyake-design-photography

#black#1980#white#textured design#1970s#irving penn#sculptural fashion#fashion#photography#issey miyake

Issey Miyake, photographed by Irving Penn (c.1980) ꩜ Fabric discs that turn a body into landscape

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#Jiali Zhao Covers SuperElle China August 2020#fashion#style#model#beauty#jiali zhao#superelle#superelle china#asian model#asian

Jiali Zhao Covers SuperElle China, August 2020

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#audrey tchekova#bruno dayan#l'officiel paris

Audrey Tchekova | © Bruno Dayan L'Officiel Paris (September 1998)

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For sixteen days—June 18 through July 3, 2016—Italy's Lake Iseo was reimagined. 100,000 square meters (1 million square feet) of shimmering yellow fabric, carried by a modular floating dock system of 220,000 high-density polyethylene cubes, undulated with the movement of the waves as The Floating Piers rose just above the surface of the water.

Visitors were able to experience the work of art by walking on it from Sulzano to Monte Isola and to the island of San Paolo, which was framed by The Floating Piers. The mountains surrounding the lake offered a bird's-eye view of The Floating Piers, exposing unnoticed angles and altering perspectives. Lake Iseo is located 100 kilometers (62 miles) east of Milan and 200 kilometers (124 miles) west of Venice.

"Like all our projects, The Floating Piers was absolutely free and open to the public," said Christo. "There were no tickets, no openings, no reservations and no owners. The Floating Piers were an extension of the street and belonged to everyone."

A 3-kilometer-(1.9-mile)-long walkway was created as The Floating Piers extended across the water of Lake Iseo. The piers were 16 meters (52.5 feet) wide and approximately 35 centimeters (13.8 inches) high with sloping sides. The fabric continued along 2.5 kilometers (1.6 miles) of pedestrian streets in Sulzano and Peschiera Maraglio.

https://christojeanneclaude.net/artworks/the-floating-piers/

Christo, floating piers, in lake iseo, Italy 

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born in Osaka, Japan (1972), lives and works in Berlin.

Shiota’s inspiration often emerges from a personal experience or emotion which she expands into universal human concerns such as life, death and relationships. She has redefined the concept of memory and consciousness by collecting ordinary objects such as shoes, keys, beds, chairs and dresses, and engulfing them in immense thread structures. She explores this sensation of a "presence in the absence" with her installations, but also presents intangible emotions in her sculptures, drawings, performance videos, photographs and canvases.

https://www.chiharu-shiota.com/

Chiharu Shiota