Did anyone hear about the possibility of the United States opening its travel sanctions with Cuba? I love Barack Obama! Before the 2008 election, the Castro administration stated that they were “very interested” in sitting down for discussion with the United States, but only after there were no Bushs in the white house. No joke. He really said that. And I cant blame him, Bush has been such a dickhead towards Fidel and Venezuela’s Hugo Chávez that we Americans had no possibility of becoming friends with our southern cousins. This is a small taste of the amazing Venezuelan graphic design talent that we are missing due to our modern day mccarthyism.
Jim Callahan is a multi-talented creative who lends his bold pop-icon vibrant graphic style to a potty-mouthed vision of vulgar humor and the macabre. His humorously outlandish take on his subjects disarms their gritty gore visuals of exploding skull & brains, guts and the spray of blood. James Callahan also runs his own fledgling deck company: Nowhere Skateboards, and has illustrated comics, such as Strange Detective Tales and Rotting In Dirtville. He is also responsible for the DVD covers to the daybyday films, among art for piles of records, CD’s, shirts, toys, posters, and beyond.. James was interviewed in issue: D of Beautiful/Decay magazine and designed the three-dimensional stunner “Barf 3d” for Beautiful/Decay Apparel- which featured, of course, a three-dimensional skull puking a cacophony of vile beasts. Most recently he contributed the mind-blowing (no pun intended) graphic “Kersplat” that shows someone’s brain literally exploding from reading B/D!
Our fine friend Brian Bonus from VIMBY recently did an amazing video profile on us for our anniversary issue Z and art show. It’s a great piece- Amir discusses the very first black and white issues of Beautiful/Decay ever made all the way to our most recent issue! Watch as ten years becomes 4 minutes….
"Lake Intervention", 2007/2008. Sound installation/ 30" x 24" Digital C-Print. Collaboration with Samuel Ekwurtzel.
Tiffany Sum’s work explores the im/possibility of intimacy between body and technology. Through interactivity in participatory situations, impressions alternate between the visceral and palpable, the fleeting and intangible. The responsive environment generates a constantly changing social formation among the audience. The process of internalizing these impressions into personally meaningful enactments can be voluntary — as in the gallery, or involuntary — as in the public place.