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  • That time the Clash appeared in Martin Scorsese’s ‘The King of Comedy’
    05.24.2016
    05:50 pm

    Topics:
    Movies
    Music

    Tags:
    The Clash
    Martin Scorsese


     
    An interesting cinematic footnote to the Clash’s time spent in New York City in the early 1980s—while they recorded their sprawling three-record Sandinista album—is their “blink and you missed ‘em” appearance in Martin Scorsese’s dark classic The King of Comedy.
     

     
    Apparently both Scorsese and Robert De Niro were huge Clash fans and saw them during their famous series of seventeen concerts at Bonds International Casino in Times Square during May and June of 1981. Aside from the band going out to bars a few times with the director and actor, it’s mentioned in several Clash biographies—and several about Scorsese, too—that Gangs of New York was originally something he envisioned for the group!
     

     
    Mick Jones, Joe Strummer, Paul Simonon and some of their cohorts—sometime manager Kosmo Vinyl, singers Ellen Foley and Pearl Harbour and filmmaker Don Letts are credited in The King of Comedy as “Street Scum.”

    Here the are in action, take a look:

    Posted by Richard Metzger | Leave a comment
    ‘Secret Life of the Human Pups’ reveals the men who like to dress up as dogs
    05.24.2016
    02:06 pm

    Topics:
    Animals

    Tags:
    cosplay


     
    Tomorrow evening large numbers of U.K. viewers are expected to tune into what is being hyped as a startling documentary on Channel 4 called Secret Life of Human Pups. The documentary is about a fascinating subculture of men who have a secret predilection for dressing up as dogs in their spare time, including the donning of special plastic dog outfits, sleeping in cages, eating dog biscuits—they especially adore going out for walks on a leash, or on a “lead” as the British term it.

    This morning, on a talk show called This Morning on ITV, British viewers received a sneak preview of the documentary’s content when a fellow named Tom, who likes to dress up as a Dalmatian named Spot, appeared for an interview with a close friend and former fiancée named Rachael. To put it mildly, the program has provided many Britons with a juicy fodder for water cooler conversation.

    Tom is a sound and lighting technician in everyday life, and he has spent more than four thousand pounds—that’s nearly $6,000—on his canine accoutrements. Tom has a custom-made rubber suit and a dog crate that he uses for his nighttime slumbers. He says, “It doesn’t look comfortable, but you can curl up in different ways, there is more space than you think.”

    According to the documentary, as many as 10,000 “secret pups” live in the United Kingdom. Many of them insist that the practice is not sexual in nature but is rather a response to stress in daily life, a reversion to a simpler state of being. As Tom says, the practice is “an obsession and an escapism. It would be a very boring life if there was no puppy play.”

    Baffled viewers took to Twitter to express their befuddlement—and also to register their skepticism that the practice has no sexual component. One woman named Kirsty tweeted: “I’m sorry but him saying it isn’t a sexual thing is lying! It’s extreme bondage gone weird.”

    One man quoted only by his puppy name Dynamo, commented, “A lot of them work in high pressure jobs and control a lot of people, they are CEOs and it is a way for them to express themselves in a way they can’t as a human.” Another fellow who becomes a rottweiler named Chip says “When I am not running around on all fours I work in catering.”

    After the documentary airs tomorrow night, you can expect a whole new round of office conversation to start up again.

    More after the jump…

    Posted by Martin Schneider | Leave a comment
    Kicking Against the Pricks: How Pauline Boty’s pioneering Pop art bucked the art world’s boy’s club

    0_088pbbed.jpg
     
    Pauline Boty was an artist, activist, actress and model. She was one of the leading figures of the British Pop art movement during the late 1950s and early 1960s. Her contemporaries were Peter Blake, Derek Boshier and David Hockney. But when Boty tragically died at the height of her fame in 1966, her work mysteriously disappeared. Not one of her paintings was exhibited again until 1993.

    Boty was all but forgotten by the time a cache of her paintings was rediscovered on a farm in the English countryside in the early 1990s. The paintings had been stored in an old barn for safe-keeping by her brother. Their rediscovery placed Boty firmly back into the center of the Pop art boy’s club.

    Throughout her life, Boty kicked against the men who tried to hold her back. Born into a Catholic family in 1938, her father (a by-the-book accountant) wanted his daughter to marry someone respectable and raise a family. Instead she chose to study art to her father’s great displeasure. In 1954, Boty won a scholarship to Wimbledon School of Art.

    At college, Boty was dubbed the “Wimbledon Bridget Bardot” because of her blonde hair and film star looks. She went onto study lithography and stained glass design. However, her desire was to study painting. When she applied to the Royal College of Art in 1958, it was suggested by the male tutors that she would be more suited studying stained glass design as there were so few women painters. Though Boty enrolled in the design course she continued with her ambitions to paint.

    Encouraged by the original Pop artist Eduardo Paolozzi, Boty began painting at her apartment. Her makeshift studio soon became a meeting point for her friends (Derek Marlowe, Celia Birtwell) and contemporaries (Blake, Boshier, Hockney and co) to meet, talk and work. Boty started exhibiting her collages and paintings alongside these artists and her career as a painter commenced.

    In 1962, Boty was featured in a documentary about young British pop artists Pop Goes the Easel alongside Peter Blake, Derek Boshier and Peter Phillips. The film was directed by Ken Russell who created an incredibly imaginative and memorable portrait of the four artists. Each was given the opportunity to discuss their work—only Boty did not. Instead she collaborated with Russell on a very prescient dream sequence.
     

     
    It opens with Boty laying out her paintings and drawings on the floor of a long circular corridor—actually the old BBC TV Center. As she examines her work a group of young women appear behind her. These women walk all over her artwork. Then from out of an office door, a nightmarish figure in a wheelchair appears and chases Boty along the seemingly endless twisting corridors. Boty eventually escapes into an elevator—only to find the ominous figure waiting inside.

    Her performance in Russell’s film led to further acting roles—in Alfie with Michael Caine, with James Fox on the stage, Stanley Baxter on television and again with Russell in a small role opposite Oliver Reed in Dante’s Inferno. Boty was photographed by David Bailey, modeled for Vogue, regularly appeared as an audience dancer on Ready, Steady, Go!, and held legendary parties at her studio to which everyone who was anyone attended—from the Stones to Bob Dylan. Boty was the bright flame to whom everyone was attracted.

    She was a feminist icon—living her life, doing what she wanted to do, and not letting men from hold her back. But the sixties were not always the liberated decade many Boomers would have us believe. Boty’s critics nastily dismissed her as the Pop art pin-up girl. The left-wing party girl. A dumb blonde. Of course, they were wrong—but shit unfortunately sticks.

    Boty’s work became more politically nuanced. She criticised America’s foreign policy in Vietnam; dissected the unacknowledged sexism of everyday life; and celebrated female sexuality. She had a long affair with the director Philip Saville—which allegedly inspired Joseph Losey’s film Darling with Dirk Bogarde and Julie Christie. Then after a ten day “whirlwind romance” Boty married Clive Goodwin—a literary agent and activist. She claimed he was the only man who was interested in her mind.

    In 1965, Boty was nearing the top of her field when she found she was pregnant. During a routine prenatal examination, doctors discovered a malignant tumor. Boty refused an abortion. She also refused chemotherapy as she did not want to damage the fetus. In February 1966, Boty gave birth to a daughter—Boty Goodwin. Five months later in July 1966, Pauline Boty died. Her last painting was a commission for Kenneth Tynan’s nude revue Oh! Calcutta! called “BUM.”
     
    0_0scandpb63.jpg
    Pauline Boty in her studio holding the painting ‘Scandal’ in 1963.
     
    0_0bghan60pb.jpg
    ‘A Big Hand’ (1960).

    More of Pauline Boty’s paintings plus Ken Russell’s ‘Pop Goes the Easel,’ after the jump…

    Posted by Paul Gallagher | Leave a comment
    The Adventures of Schoolly D: A Gangster’s Story
    05.24.2016
    01:24 pm

    Topics:
    Hip-hop
    Movies
    Music

    Tags:
    rap
    Schoolly D


     
    At the risk of sounding like a middle-aged white guy character in a Mike Judge film, the improbable soundtrack to my life for the past two weeks has been Schoolly motherfuckin’ D. For whatever reason, I pulled out an old CD of his—maybe for the first time this millennium—to listen to in the car the other day and now I can’t get enough of it. Alone in the car I play “P.S.K. (What Does It Mean?)” at an ear-splitting volume that I’m pretty sure bounces my conservative European automobile like a low-rider with tricked-out suspension. I probably look like an idiot, I grant you, but I don’t really care. This shit is amazing. I appreciated it when it came out—I saw him live—but why it captured my attention so much again thirty years later I couldn’t tell you. It just did.

    Probably the original original gangster rapper—even Ice-T admitted in his autobiography that he might’ve taken a bite out of Schoolly D‘s style—the Philadelphia native, on his self-released records at least, perfectly played the role of the scary black gang member/rapper, alluding to, cataloging and boasting about the nefarious activities of the “Park Side Killers,” the local posse of bad boys he ran with. Schoolly—real name Jesse Weaver Jr.—was backed by his DJ Code Money and rapped about violence, guns, raunchy sex, “bitches,” crack and “cheeba”—Salt-n-Pepa or Run DMC were never going to mention such things, or use the “N” word in their raps. Schoolly D shied away from none of these topics or that word.
     

     
    He told the Philadelphia Citypaper about where his lyrical inspiration came from in a 2004 interview:

    “A couple of guys I know, Abdullah, Disco Man and my man Manny, were like, “Why don’t you write a song about us, why don’t you write a song about Parkside Killers?’ It was one of the easiest songs I’d ever written. I wrote it sitting at my mom’s dining-room table, smoking some weed at 3 o’clock in the morning.”

    Armed with his newfound inspiration and a large amount of weed, Schoolly hit the studio. Out of necessity he was forced into recording in a studio designed for classical music.

    “They had these big plate reverbs, that’s why you got the “PSK’ sound because nobody used the real shit. We did everything live, and if you listen you can hear my fingers programming the drum machine. We just kept getting higher and higher and higher, and smoking and smoking and all of a sudden the song just took on this whole other life because we were just so fucked up. It just made this sucking sound like “boosh, boosh’ and we just looked at each other and were like, “Yeah, do more of that shit.’”

    The “boosh” sound is what really made “PSK” stand out as something that, until that time, had never been done. The tweaked-out reverb bass caused a sensation.

    “I got home and I put the tape in the tape recorder and I was like, “What the fuck did I do?’ Nobody had ever done something like that before, with all the reverb, nobody. And I was like, “I gotta go back and take some of that reverb out because this shit just sounds kinda crazy.’ But I didn’t know that everyone else was making tapes and passing out copies to everyone in Parkside, so by the time that I wanted to go back to the studio it was already out everywhere, and motherfuckers was going crazy, they was like, “That’s the baddest shit we ever heard in our whole fucking life.’”

    Keep reading after the jump…

    Posted by Richard Metzger | Leave a comment
    Lee Ving of Fear—now in bobblehead form
    05.24.2016
    09:50 am

    Topics:
    Amusing
    Music
    Punk

    Tags:
    Throbbleheads
    Lee Ving


     
    Fear singer/honcho Lee Ving is a divisive figure who’s been called a LOT of things ending in “-head.” The unabashedly juvenile and boneheaded misanthropy in Fear’s lyrics makes him a hero to anti-PC reactionaries (he’s called himself an “equal opportunity offender” in interviews, which right there is a huge dog whistle), and a juvenile misanthropic bonehead to everyone else. He’s basically a loudmouth who unabashedly speaks his mind, a quality considered highly praiseworthy by people who happen to think like him. I can think of another figure who appeals to reactionaries for “speaking exactly what’s on his mind.” I’ll shut up now.

    But whatever you can say about Ving’s assholiness, his band left a pretty remarkably big musical stain on Hardcore. In their 39 year history (of the original band only Ving remains) they released only two truly significant albums—1982’s The Record and 1985’s More Beer. Since then their output has been paltry, sporadic, and lacking in fire. It’s clear the band exhausted its trove of ideas early; their last album, 2012’s The Fear Record, is merely a re-recording of their debut. But that debut was sufficiently loaded with classics that it practically constitutes a best-of in its own right. That, and the publicity generated by their infamously chaotic Saturday Night Live appearance (the were invited by John Belushi) made the utterly misanthropic and hostile Fear, for better or for worse, the band civilians thought of when they thought of Hardcore at all, which let’s face it, didn’t do punk a whole lot of favors in the public relations department. As with all things Ving, your mileage may vary.

    So whether you think he’s a savior or a destroyer, it’s fairly inarguable that he genuinely deserves the honor of his own bobblehead figure. Ving lately joins DEVO, Descendents, Mike Watt, Wendy O. Williams, and GG Allin, among other underground heroes, in Aggronautix’s “Throbblehead” line of punk rock bobbleheads. He’s the 30th punk icon so honored, and his edition of figures is limited to 1000, numbered. And it looks a damn shot cuddlier than the real-life model. If these don’t sell, maybe Aggronautix can lop off the middle finger, scrub the Fear logos, and try to pass these off as Joe Strummer.
     

     

     
    Pre-orders are happening now at Aggronautix’s web site. The figures are expected to ship this summer.

    Posted by Ron Kretsch | Leave a comment
    Your worst fears have become creepy, nightmare-fueled comics
    05.24.2016
    09:47 am

    Topics:
    Amusing
    Art

    Tags:
    books
    phobias
    Fran Krause


    A reader submitted phobia becomes a comic illustrated by Fran Krause.
     
    When illustrator, filmmaker and academic Fran Krause started his “Deep Dark Fears” series of web-based comics, the ideas sprang from his own feelings of dread about getting chopped in half by an elevator door or perhaps the things that creep around the house when the lights are out. It wasn’t long before Krause started illustrating submissions from his fans, with rather terrifying results.
     

    It could happen!
     
    Born in Upstate New York, Krause now lives in Los Angeles and teaches animation at the California Institute of the Arts. Krause’s Tumblr is regularly updated with new submissions from readers who suffer from various phobias that many of us share—such as the fear of the dark or flying to more elaborate, unfounded fears like being shredded to bits by a subway turnstile or having your finger chopmed off by a worm with teeth that lives in your nose. When pouring through Krause’s Tumblr I noticed that many of the stories that were submitted came from stories they were told when they were children by their parents, grandparents, mentors, or older siblings. Although I really don’t understand the benefit of telling your kid to not worry about sweeping up breadcrumbs from the kitchen floor after dinner because that’s what the dead people in the house eat at night. Yikes.

    If you dig what you see in this post, 101 of Krause’s nightmare-fueled comics are a part of the 2015 book called Deep Dark Fears. So grab some No-Doz and read on. If you need me, I’ll be under the bed.
     

     
    More of your worst nightmares illustrated by Fran Krause after the jump…

    Posted by Cherrybomb | Leave a comment
    KISS, with the vocals half a step out of key, sound like drunk frat boys at a karaoke bar
    05.24.2016
    09:35 am

    Topics:
    Music

    Tags:
    KISS


     
    Post delivers.

    Here’s KISS doing their 1979 hit off the Dynasty album, “I Was Made For Loving You”—remixed, sounding something like your favorite karaoke bar superstar.

    The advent of games like Rock Band brought about a lot of classic pop songs being salvaged from their master tapes and separated into their core instrument tracks in order to facilitate gameplay. Clever hackers have been able to grab those separated tracks from the games, turn them into MOGG files, and an underground cottage industry has developed around remixers re-appropriating these isolated instrument sounds. This is partially responsible for the explosion in mashup songs over the past decade. Sometimes really amazing creations can be concocted using a guitar line from one song and a vocal from another.

    Or you can do what YouTube user Pluffnub has done: take a bunch of beloved songs and pitch down only the vocals a half step… making them sound like retarded drunks.

    The effect is beautifully subtle—it sounds off JUST ENOUGH to be fucked up, but it might take you a few seconds to notice just HOW fucked up.

    Pluffnub has done several of these, including songs by Queen, Duran Duran, A-Ha, and Iron Maiden.

    But this one is the best. “I Was Made For Loving You” by KISS. It really gets good on the choruses. It’s especially satisfying in light of Gene Simmons making such a turd out of himself lately.

    “Feel the magic” after the jump…

    Posted by Christopher Bickel | Leave a comment
    ‘The Essential Paul Laffoley’ is the most mind-boggling coffee table art book of 2016 (or any year)
    05.23.2016
    04:12 pm

    Topics:
    Art
    Books
    Thinkers

    Tags:
    Paul Laffoley
    Douglas Walla


     
    Okay, okay so although I could probably definitely be accused of bias—the volume in question here is about a dear friend of nearly twenty years and edited by another close friend of exactly the same vintage (plus I blurbed it)—I strongly feel that the recent University of Chicago Press book The Essential Paul Laffoley: Works from the Boston Visionary Cell edited by Douglas Walla is a “document of seismic cultural importance.” I’m quoting myself here, but fuck it: I’m right.

    When Paul Laffoley died last November at the age of 80, he left behind a vast archive of mind-boggling, awe-inspiring work. Huge paintings, elaborate drawings, models, handwritten journals, architectural blueprints, sci-fi inventions, essays. He was one of the great geniuses of the 20th century, although few people are aware of this fact. An eccentric genius to be sure, but a true Mount Olympus-level genius is what he was, make no mistake about it. This isn’t merely my opinion, it’s more a matter of objective fact. In due course—and I’m certain of this—the rest of the world is going to figure it out, too. I say this in all seriousness: The man was the Leonardo of our time. History will bear my bold statement out. (If you disagree, you just don’t know what you are talking about. See what I did there?)

    But don’t worry, in the coming years the human race is going to figure this all out—of this I have complete confidence—and The Essential Paul Laffoley: Works from the Boston Visionary Cell will be the cornerstone of all future academic scholarship about the man, it’s both “Paul Laffoley 101” and the graduate level course in one volume. It was put together—a product of pure love and admiration—by the world’s #1 undisputed authority on the great artist’s work. Over the course of the past three decades, Paul Laffoley has been represented by Douglas Walla at Kent Fine Art in New York City. In a career going back to the 1970s, Walla has worked with artists like Francis Bacon, Richard Artschwager, Dorothea Tanning and Llyn Foulkes. He’s brokered deals for Giacometti’s, Picabia’s, Richter’s, Duchamp’s and even a few Rodins. In the cutthroat business of the New York art world, you couldn’t find a finer man than Doug.

    The world isn’t always kind to the type of eccentric individual that Paul Laffoley was. History will record how very lucky he was to have met Douglas Walla when he did because otherwise he might have died in obscurity, instead of seeing vast museum-level surveys of his work mounted in London, Berlin and Paris during the final years of his life.

    I sent Douglas Walla a few questions via email over the weekend and he sent them back to me this morning

    Richard Metzger: How long did it take to prepare the book? 

    Douglas Walla: The short answer is 27 years.

    When I made the first studio visit to Paul’s Bromfield Street studio—the Boston Visionary Cell—in 1986, he was already working on Thanaton III. The lettering as such was not yet added, but it was certainly well underway.  I arrived at 10 am, and Paul immediately launched into a major—and almost trance-inducing—meditation on the manifestations of the painting. The next thing I knew, it was 2:00 pm, and thinking I had a plane to catch back to NYC at 6, I said, “How about that other painting?”  He simply said, “I’m not done yet” (meaning he wasn’t done with his explication of Thanaton III). So flying home, I thought, I need to do a book.  As a postscript, Thanaton III appears in the book published in 1989, but the lettering still had not yet been added.

    I returned with a tape recorder, and I recorded “The Dream as the Initiation” which became chapter one of The Phenomenology of Revelation.  In all, between Paul, myself, and Jeanne Marie Wasilik, we recorded about 25 hours of dialogue with Paul, and that was edited down to eight chapters that would become the first book on Paul for which I acted as photo editor vetting the subjects touched upon, and Tony Morgan took a free hand in designing the final publication.

    In the process, I developed a template we called a “thought form,” believing that the understanding of each individual work would be enhanced by a linguistic text plate to help the viewer more easily see what Paul was thinking. A complicated caption.

    After the book was finished, I continued to work with Paul over the next twenty years compiling a thought form for each work we discussed.  So the archive progressed, and we paid particular attention getting good photography for each work, in that there was mounting interest in READING the paintings as they appeared in reproduction.

    Paul and I collaborated for over 25 years building this archive, with the hopes of printing (analog) a catalogue raisonne of his work, and not placing it on the internet. I had the misfortune of posting 80 entries several years ago only to have it all copied, posted to another website unknown to me, and having the carefully edited texts violated and changed, and having his work reduced to collage, snippets, montages, wallpaper, etc.  So a book stands as a valid authority on the topic of Paul’s work without alterations by others.
     

     
    Richard Metzger: How many additional paintings and drawings didn’t make the cut?

    Douglas Walla: In that Paul never kept records of what he finished, when presented with the invitation by the University of Chicago Press to publish a monograph on Paul, I realized that a “Complete Works” book was almost impossible. There would always be other works coming to the surface, although I would state that only about 10 such works have come to my attention in the last decade. The format that was workable, conceptually as well as intellectually, was The Essential Paul Laffoley chronicling 100 works. 

    What was left out were many of what Paul termed “nudes,” which were paintings without text. Further, there were commissioned works such as Hank Williams, and the Elvis series which do not appear, and many of the architectural three dimensional models he made which were in disrepair.  There was also Rubaiyat (75 sketches) that I only became aware of after death, and his uncompleted tarot deck which he worked on to the end, along with what would have been a major work entitled The Garden of Earthly Death.  There were ten large scale canvases unfinished at his death, and approximately 27 paintings that were unsigned, untitled, undated and never shown, all of which are omitted from the publication.
     

     
    Richard Metzger: How would you describe your relationship with Paul? Obviously you were his gallerist and representative for decades, his close friend, his patron and #1 fan—you not only told the world about him, you actually invested a lot of money in his career, publishing his book when he was a complete unknown and so he that wouldn’t have to work and could produce more work. I’ve never said this to you before, but I always saw you as being the father figure in the relationship. Despite Paul being many years older than you, there was something childlike about him. The way you looked after him always seemed very paternal to me, but I want to hear your take on it.

    Douglas Walla: The thing we all learned about Paul was his extreme generosity in terms of patience, good humor, and intimidating intellect.  Always pushing the outside of the envelope so to speak, I was endlessly challenged and stimulated by our association. He was a friend, and a pleasure, and gracious.  As his physical health began to deteriorate (and I think I was in denial that he was on a path to his final congestive heart failure), I became his travelmate certainly by 2009. When he injured himself in 2001—he fell off a ladder—I became his medical proxy sorting through extremely complicated medical issues concerning his diabetes and the impact it had in devastating his cardiovascular system.  Of course one of his legs was amputated. So by 2009, I tried to get him to all the things he longed to see and visit including Neuschwanstein, Dornach, Eiffel’s Apartment at the top of the Tower, the Space Needle—his bucket list. 

    The only thing on that list he never saw was the completed book.
     

     
    Keep reading after the jump…

    Posted by Richard Metzger | Leave a comment
    Meet Tuttii Fruittii and Toni Tits, the ‘drag clowns’ of London
    05.23.2016
    02:21 pm

    Topics:
    Queer

    Tags:
    drag
    clowns
    drag clowns
    Tuttii Fruittii
    Toni Tits


     
    The memorably named Tuttii Fruittii and Toni Tits—Tuttii’s the one on the bicycle above—are inclusive clowns for the generation that has decisively rejected the imposition of restrictions on gender identity. Operating out of the Deptford neighborhood of London, they go by the name Jûngølā Klöwñz, and they are an “experimental comedy art duo” inspired by a generous grab-bag of sources, including drag, clown, and tribal culture.

    Tuttii and Toni both cut their teeth at the Haus of Sequana, a women-only group inspired by the tribal practices of the African, South American, and Asian diasporas that after “rampant orgies of imagination and joyous mashings of minds” created a group of performance artists that liberally uses body paint, movement, and chanting “to challenge patriarchal norms and prescribed gender roles.”

    In what passes for “regular life,” Tuttii is a hair sculptor and Toni is a video artist. Photographer Poem Baker has been capturing the duo as they go about their business for over a year, and that time has culminated in the colorful series of pics seen here.

    On the Klöwñz, Baker writes, “Their psychedelic creations being so entrenched in their daily lives has made it impossible to distinguish between persona and performer, between art and life.” The two clowns have given Baker an occasion to ponder why she does what she does too: “London is my home, and I love photographing all its wonderful, colorful characters— the eccentrics, the artists, the crazies, and the the bohemians.”
     

     

     
    More after the jump…....

    Posted by Martin Schneider | Leave a comment
    Freakishly cool body paintings by 16-year-old artist
    05.23.2016
    01:57 pm

    Topics:
    Art
    Design

    Tags:
    body painting
    Lara Wirth

    A photo posted by Lara wirth (@armageddonpainted) on

     
    Here are some really impressive body painting skills by 16-year-old Melbourne-based artist Lara Wirth. On Wirth’s Instagram page, she’s described as a self-taught body painter and a “dedicated procrastorpainter.”

    It’s hard to believe looking at these images that Wirth has had no formal training. She’s truly gifted to say the least.

    A photo posted by Lara wirth (@armageddonpainted) on

     
    More after the jump…

    Posted by Tara McGinley | Leave a comment
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