In 1961, German artist Timm Ulrichs put himself on display inside a glass case and called himself the "first living work of art" (erstes lebendes Kunstwerk). He repeated this performance at various times throughout his career.
Artmap.com explains: "Instead of found objects, Ulrichs uses his own body. A simple and simultaneously great idea: whereas with Duchamp the producer and the work were still separated, in the case of Timm Ulrichs, the artist and the work are one and the same."
A "great idea" is one way to describe it.
Some more examples of Ulrich's art:
In 1962, Timm Ulrichs signed his own body. His name was engraved as a tattoo on his upper arm.
In 1963, he tracked his heartbeat with a stethoscope. He broadcast it on a loudspeaker and exhibited the medical record as a musical score.
In 1966, Timm Ulrichs showed the tanning of his skin as a filmic process for the first time. The covered, untanned areas of his back, in contrast to the tanned areas, slowly reveal the word “Hautfilm” [skin film].
In 1969, Timm Ulrichs became a sperm donor at the Bremen sperm bank – ironically referring to Walter Benjamin’s essay “The Work of Art in the Age of its Technological Reproducibility”.
In 1973, Timm Ulrichs ate for one year according to the average consumption of Germans, precisely observing the consumption of milk, bread, and cigarettes. Four cigarettes a day.
In 1978, using professional police equipment, Timm Ulrichs had a facial composite of his own face made.
A recent article in the journal Physical Review E explores what kind of paper is most likely to give you paper cuts. The answer: dot-matrix paper. Followed by magazine pages.
The likelihood of cutting has to do with the thickness of the paper. Too thin and the paper buckles instead of cutting. Too thick and it indents material rather than slicing it. There's a specific range in between too thick and too thin where the paper cuts.
For the purpose of their research, the authors created a "papermachete" which they used to cut apples, bananas, chicken, etc. (see image below).
Teeny Miss Grits Ava Dean, 2, (L) and Miss Grits Lindsay Dobbs, 16, participate in the parade during the 14th annual National Grits Festival in Warwick, Georgia USA on 09 April 2011.
13th Annual National Grits Festival in Warwick Georgia every April featuring arts and crafts, eating event, corn shelling, parade and rolling in the grits pit.
The front yard of a Phoenix home displays campaigns signs of major candidates who have lost a presidential election, including failed candidates of yesteryear such as James G. Blaine and Winfield Hancock.
The signs are the work of artist Nina Katchadourian who calls it the "Monument to the Unelected." She's been creating it (and finding homes to host it) every presidential election cycle since 2008. On her website she explains:
Each sign was made in a design vernacular that could have come from any time in the past few decades, even if it advertised a candidate from a previous century. At a time when the country was preoccupied with the "fork in the road" moment of a major national election, the piece presented a view of the country's collective political road not taken.
In the early 1920s, the deer population was growing out of control on the Kaibab Plateau north of the Grand Canyon. The area had been designated a National Game Preserve in 1906, and since then the deer population had swelled from around 4000 to as many as 100,000 (by some estimates).
Farmer George McCormick came up with a solution. He proposed herding thousands of the deer down into the canyon, over the Colorado river, and then up onto the South Rim where there was plenty of room for them.
Critics pointed out that you can't herd deer, but this didn't deter McCormick. He put together a team of about 50 men on horseback (including the writer Zane Grey) and 100 local Native Americans on foot. Then they set out to herd the deer. Details of how they fared from Arizona Highways magazine (July 2004):
The Indians carried cowbells and rang them to get the deer moving out of the woods. They also beat metal pans with sticks, while the men on horseback waved hats, shouted and fired guns.
"But as they drew near the deer, instead of retreating, the animals almost invariably dashed through the cordon of men," reported the Sun. "Not only did they refuse to run away forward, but in charging the line, the animals seemed not to care a particle how close they came to the men. In many instances the latter had to give ground.
"One immense buck charged four mounted men, of whom Mr. Grey was one, and the latter reached for his gun, expecting to be run down. The deer just missed the quartet...
The effort continued through that day and the next. But it never approached anything but total chaos, with deer stampeding in every direction.
For more info, there's a detailed article about the deer drive in the Summer 2004 issue of Boatman's Quarterly Review (available as free pdf). Some images from that article:
Plexiglas book. Pages are laminated with collage elements embedded. Collage elements comprised of debris from smoking 50 packages, a total of 1000, of Camel cigarettes including cigarette butts, match-book covers, burnt matches, ashes, and smoke. Book is Coptic bound with various colored threads. The front cover of the book is laser-etched with the title; the back cover is laser-etched with the name of the press. Dimensions: Book 29 x 22.5 x 6 cm. Container/box 32 x 25.5 x 9 cm. Unique, one-of-a-kind.
The box cover and internal tray are made by Mark Wagner. The cover is collaged from 1/4-inch slivers cut from packages of Camel cigarettes. These cut slivers are reconstructed to form the image of the camel and desert landscape as they appear on the package of Camel cigarettes.