McNabb & Co. is a design studio that is reimagining the urbran landscape. Their “The City” series is a collection of wood sculptures that represent a woodworker’s journey from the suburbs to the city. Each piece depicts the outsider’s perspective of the urban landscape. Made entirely of scrap wood, this work is an interpretation of making something out of nothing. Each piece is cut intuitively on a band saw. The result is a collection of architectural forms, each distinctly different from the next. (via)
You might be asking yourself why Beautiful/Decay is posting images of traditional Chinese Landscapes but if you look just a bit closer you’ll see that in fact these images are highly sophisticated digital manipulations of mounds of garbage and landfills. Yao Lu, the Chinese artist responsible for this brilliantly deceiving body of work begins her process by photographing mounds of garbage covered in green protective nets which he assembles and reworks by computer to create bucolic images of mountain landscapes shrouded in the mist inspired by traditional Chinese paintings. Lying somewhere between painting and photography, between the past and the present, Yao Lu’s work speaks of the radical mutations affecting nature in China as it is subjected to rampant urbanization and the ecological threats that endanger it. (via)
Painting is enjoying a remarkable creative renaissance in the 21st century, with many of the world’s leading artists now working in this most enduring and seductive of media. 100 Painters of Tomorrow is an ambitious new project, initiated by editor-curator Kurt Beers and the publishers Thames & Hudson, to find the 100 most exciting painters at work today. Culminating in a major publication that will introduce and present each artist and their work, creating a snapshot of the best new talent in painting from across the globe, submissions are invited from artists from now until March 15th 2013.
The open call submission is international and open to any artist who uses paint as their primary medium. There is no age limit for entry, but each of the selected artists will have gained professional recognition in the last five years (that is, since 2008/9) through their education, gallery representation or in the production of a significant body of work (see Guidelines). In addition, more than 100 of the world’s leading art schools have been directly invited to participate, nominating recent graduates to submit their applications.
Artists’ submissions will be judged by an international jury featuring some of the most prominent names in contemporary art, including the painter Cecily Brown, curators Sir Norman Rosenthal, Yuko Hasegawa, Gregor Muir and Suzanne Cotter, and writer-critics Suzanne Hudson, Philip Tinari, Tony Godfrey and Barry Schwabsky.
We all want to change the world to make it a better place. That’s why last summer Dassault Systemes asked over 550 thinkers from around the world for submissions of world changing dreams as part of their “If We” contest. Pulled from various social networking venues such as Twitter, Facebook, 3ds.com and an assortment of blogs they received brilliant ideas from every corner of the globe proving that progress and innovation can happen if we simply look and ask for it. From the initial pool of submissions they gathered the top 85 ideas and contacted the authors to get more details about their dreams.The above video sponsored by Dassault is a compilation of the top 10 ideas pulled from those 85 contestants. With so many brilliant, quirky and out of the box ideas it’s hard to choose favorites but one that particularly jumped out at us comes from Geoffrey Cooper from Canada: “IF WE designed a rolling tree planting robot, we could send them out to replant forests and restore deserted lands. Let’s make it happen!”
Join in on the conversation and share your ideas with the world today!
Central to Doug Aitken’s “100 YRS” exhibition at 303 Gallery is a new “Sonic Fountain,” in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool’s primordial glow, the fountain creates its own sonic system of tracking time.
Behind a cavernous opening carved into the gallery’s west wall is “Sunset (black),” a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture “MORE (shattered pour)”. Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, “MORE (shattered pour)” creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one’s self within the work’s reflections. Another refraction of time is glimpsed through “Fountain (Earth Fountain)”, created from plexiglas letters spelling the word “ART”, through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox “not enough time in the day” completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable. (via)
Watch a video of the show after the jump!
Chic & Artistic is a Paris based multi-disciplined creative studio working in a wide array of mediums and styles. Their Panto’ N’ Roll series caught my eye and immediately made me chuckle. Mixing pop culture references, typography and Pantone color chips, they have created a humorous word/image association game for all of us to enjoy. (via)
Chinese artist Li Hongbo’s sculptures are quite bizarre. Walking up to them you may think that they are made out of delicate porcelain but as you examine it further you’ll see that it in fact is made out of thousands of sheets of paper manually glued together. As you pull the paper apart the figures twists, turns, bends and abstracts creating stretched out imagery that is at once horrifying and exquisite. (via)
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Sophie Chapman-Andrews’ article on Tom Broadbent.
Zuki, a Gargoyle at home. Zuki lives in Milton Keynes and works in IT. Zuki owns a few suits, the gargoyle is just one of them.
First rule of Fur Club: don’t reveal your identity. Second rule of Fur Club: don’t talk to journalists.
British photographer Tom Broadbent has been getting to know various “Furries” throughout the UK for the last few years. Furries are everyday people, from bank managers to project managers to actors, who dress up in elaborate furry animal costumes and meet up to chat and hang out. Furry groups have been spotted walking around London’s St. Paul’s Cathedral and Millennium Bridge.
At Home With the Furries is Broadbent’s ongoing project, born from a desire to capture the personal, everyday side of their lives without breaking that first Furry rule. Broadbent plans to exhibit and publish this unique series, so keep an eye out for that.