Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d’Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA. She has been included in numerous group exhibitions. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had solo exhibits at Regen Projects, Los Angeles and Salon 94, New York. In 2011 Minter had a solo exhibition at Team Gallery, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is currently featured in “ Riotous Baroque”, a group exhibition at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013.

Snurk is a Dutch design label, known for cushions and bed linen with photographic prints with-a-twist. Snurk literally means Snore. This Snurk Geogami double duvet cover set is made from soft and comfortable percale cotton with a colourful origami print on both sides. Found here.

Amazing photorealistic portraits made of bubble wrap injected with acrylic paint created by Bradley Hart. Very, very cool.

This knitted shark socks by Lisa Grossman appear to be devouring your legs but looks so comfy.

Check out this installation titled ‘Penetralia’ at the Gladstone Gallery by British artist Sarah Lucas. ‘Since the 1990s, Lucas has been developing a unique material vocabulary using everyday domestic items such as stockings, clothing hangers, lightbulbs, and beer cans to create objects that challenge our collectively inscribed codes of gender, sexual, and social normativity. In this exhibition Lucas uses the male genitalia as her muse, capturing the tension between the representational and the abstract, while retaining the insistent and underlying anxiety imbued in her particular mode of the abject. In this exhibition of new and older works, Lucas continues to explore the themes and ideas at play within her 2008 series of the same title, “Penetralia.” Employing similar strategies of production, such as cast concrete, plaster, and fiberglass, these works engage the figure of the phallus with an intense formal clarity and wit. While the symbolic power of the phallus allows Lucas to play with an overt level of content and signification, she is also equally attentive to the basic conditions of the sculptural object implied in composition, weight, balance, and materiality. These aesthetic details animate Lucas’ otherwise brute erections, rendering their contours, surface, and structure into an elegant and formal investigation of the phallus. Throughout her work, Lucas has both explicitly and suggestively conjured the image of the penis as both a controversial cultural icon as well as a banal human body part, remarking upon the male organ as the ideal stand-alone sculpture. In drawing parallels between the physicality of both the sculptural object and the male organ, Lucas slyly alludes to the shared history of power and preferences: verticality over horizonality, exterior versus interior, convex versus concave, visibility opposed to invisibility. Linguistic tropes and puns have consistently informed Lucas’ multivalent and at times evasive layering of meaning, perfectly exemplified in the title “Penetralia,” essentially defined as, “the innermost, the most private or secret parts.” This title cleverly conflates its two inter-related terms, the penetrated (the “innermost”) and the penetrator (the phallic object), by enacting a slippage in meaning between text and object.’

Matt Doust was born in 1984 in Santa Monica, California. He grew up in Perth, Australia. In July 2011, he moved back to Los Angeles where he now lives and works. Doust was named a finalist in 2011 for Australia’s prestigious Archibald Prize.

Bethany Krull is a ceramicist living in working in the Western New York region. She earned her Master’s of Fine Arts from the School for American Crafts at the Rochester Institute of Technology and her Bachelor’s of Fine Arts from the State University College at Buffalo. She is currently teaching at Buffalo State College in the design department. Her work has been exhibited regionally, nationally and internationally. Bethany Krull’s work explores human relationships with nature and the ways in which society requires nature to conform to human desires. Her works are humorous, playful, and often tongue-in-cheek. (via Burchfield Penney Art Center)

” In my work I portray what larger women represent to me. I focus on their fullness and femininity, as a form of protest against discrimination set by media and by today’s society. What larger women embody to me is simply a different form of beauty. I believe we own ‘freedom of taste’ and one shouldn’t be reluctant of expressing his inclination towards it. Limiting this freedom is living in a dictatorship of esthetics. I believe there are several ways to what is perceived as beauty, it is not measurable and has not got a standard size. I photograph my models nude and serene, to create a comfortable, proud and constructive representation of themselves in front of the viewer.” – Yossi Loloi

A cute dog sculpture wearing a traditional Japanese wedding costume at the National Art Center in 2010 by Ruriko Nonogaki.