Peel away the skin, and this is what you get:

I love art. Seriously, I can stand in front of a painting for hours and not get bored. I love Rembrandts and Vermeers, Magrittes and Picassos. There is this one Magritte painting that I want to recreate in real life so badly. Just gotta find a willing participant first.

But I also love works by Alex Grey, which L. introduced me to, and Robert Venosa, whose work I saw at Entheon, and just blew my mind.

One of my fovorite of Venosa's works, Asrtal Circus, looks like it's painted out of water, and each time you look it's different and you notice the clever things he did. I kept coming back to it, it's just so mesmerizing. The conceptual art he did for the movie Dune is amazing as well. Perhaps that film would have turned out as something other than crap if Venosa's work hd been used. I loved his depiction of a crysknife.

Alex Grey depicts bodies on an astral plane, sometimes stripped of their skin and powerful. Apparently, L. got to meet him at the Entheon event prior to the one I went to. It's like a spiritual Body Word exhibit (I've only seen pictures of that, though. The museum was closed when I tried to go).

I just recently discovered "I'm too Sad," a series of portaits of people crying. I love it because sadness is pure in a world where nothing is pure at all. Sometimes the photos seem too posed, but do you really take pictures of yourself when your sad? no, this requires some planning. Do some of these people force themselves to cry just for the collection? And if it is real, how do the subjects feel after being recorded at their most raw and vulnerable.

Bill Sullivan's series of people at Turnstiles is something I've been trying to capture for years. His photos turned out much better than mine, of course, considering he doesn't use disposable cameras. Capturing the faces at a point where they don't have to be in any societal role, and just themselves is so elusive, and even with the lack of a role to fulfill, they are all following the same route, the same path and from that one point scatter into the spheres of their lives. Sullivan's elevator series is also delightful.

Little People -- you just have to check it out. tiny and clever.

Razor Apple covers NY graffiti, and my favorite, the Wooster Collective, covers graffiti and subversive art from all around the world. It's awful how the graffiti in EC only lasts for a few days. The city simply can't allow any art to marr its precious reputation.

I've posted these links, have fun.