Cai Guo-Qiang: Move Along, Nothing to See Here, takes its title from the phrase used by police and other authority figures to deter onlookers from lingering at accidents and other “spectacles.” The work consisted of two 12 foot-long crocodiles cast in resin, realistically painted, and pierced with several thousand sharp objects—knives, forks, nail clippers, and the like—that were confiscated at airport-security checkpoints in New York. The sculpture elicits a two-fold sense of menace: the threat represented by these powerful and dangerous animals is compounded by the violence of the attack on them. This is one of a number of works—tigers pierced by arrows, exploding cars—in which the artist responds to terrorism (here, specifically, to 9/11). Cai has described his approach as “a frank look at society today and cultural/political issue we have to deal with.” (via Brown University)

This water bowl keeps your pet well hydrated and your home cleverly decorated. The bowl allows you to fill any two liter bottle and invert it into the back tank – gravity will pull fresh water into the bowl as needed. Perfect for dogs and cats. Buy here and here.

Drawn by the talented Jim Worthy, a TV animation background designer living and working in Los Angeles. Click here for the link.

Photography of portraits Alexa Meade painted directly on Sheila Vand‘s body while submerged in a pool of milk​. “Milk: what will you make of me?” is an exploration of​ the fluidity of form and the depth of perception.

A home located in Athens, Greece designed by 314 Architecture Studio.

Check out Viktor Miller-Gausa’s beautiful set of pen and watercolor illustrations. He is based in Syktyvkar, Russia.

‘Shirin Fakhim’s Tehran Prostitutes uses absurd and sympathetic humour to address issues surrounding the Persian working-girl circuit. In 2002 it was estimated that there were 100,000 prostitutes working in Tehran, despite Iran’s international reputation as a moralistic country with especially high standards placed on women. Many of these women are driven to prostitution because of abusive domestic situations and the poverty incurred from the massive loss of men during the war; in response to Iran’s strict religious laws, some even consider the profession as an act of civil protest. Fakhim’s sculptures play on the duplicitous perceptions of streetwalkers, highlighting the hypocrisy surrounding the sex industry. Made from found materials, her assemblages are grotesque configurations, exaggerating rough-trade stereotypes of wig-wearing, melon-chested slappers contortedly stuffed into ill-fitting lingerie (in reality Tehran vice-girls wear hijabs and are identifiable through more covert and subtle signals). Fakhim farcically combines westernized hooker fashion with the codes of Islamic demur, torsos and heads made from cooking implements, adorned with make-shift veils and chastity belts.’ (via Saatchi Gallery)

The first thing you’ll notice about RibCage™ is its awesome looks, but this isn’t just for aesthetic purposes. Ribcage is designed with protection in mind from the ground up. From the ultra tough reinforced protective faux leather panel to the easy fit elasto-PU back panel, RibCage™ is quintessentially the best sleeve protection in the market. RibCage™ was designed with customer requirements and style fully considered. RibCage™ is the utopia of form meeting function.

Award winning painter Eric Bowman began his career as a commercial artist in southern California creating original oil paintings for such high profile clients as Coppertone, Nike, GTE, Hallmark, Kellogg’s, Nabisco, Southwest Airlines and the Kentucky Derby. His work has also adorned the covers of TIME magazine and The Saturday Evening Post, along with numerous books, music CD’s and other popular periodicals. His original oil paintings reside in many private and corporate collections including the offices of Major League Baseball, the NBA and the United States Postal Service.

‘Contemporary artist Titus Kaphar makes oil-on-canvas copies of European and American portrait paintings from the 18th and 19th centuries and reconfigures them in strategic ways to create a dialogue about race, art and representation. His work is at once beautiful and halting as he dances between fictional narrative and history.’ (via Seattle Art Museum)