Formula Drift driver Ryan Tuerck and pro skater Bucky Lasek get together for a snowy rally driving challenge. Watch more vids like this Here.
Do you revel in hot, anguished tears rolling down the innocent face of a child? We certainly do not. How can you solve this world-wide problem? We suggest you subscribe to Beautiful/Decay. As artist C.W. Moss has illustrated in Reason #2 of our hand-painted illustrated series, a subscription a year will erase every child’s tear.
Support crying babies….. or contemporary art. Subscribe to Beautiful/Decay today!
The Orpheum Theatre in Los Angeles played host to M. Ward last week to a very enthusiastic crowd. The show was supposed to happen last October, but was cancelled due to illness. “I was sick as a brick”, he said after coming home from Mexico with a fever. The show featured songs from his last album, A Wasteland Companion as well as 2009’s Hold Time which were well received when crowd favorites like Primitive Girl and For Beginners were played.
“As you can see behind me, it’s a beautiful evening”, Ward said referring to the five windowpane backdrops that projected various outdoor scenes throughout the evening. The mostly seated crowd finally got up to dance a bit when Ward played his Buddy Holly cover of Rave On even moving two couples to swing dance in the aisles which security unfortunately put a stop to. The show reached a deafening peak when Zooey Deschanel came out to sing She & Him‘s You’ve Really Got A Hold on Me and Magic Trick, one of my favorite earlier tunes from Ward. They ended the show with the Rivieras’ version of California Sun which had the whole crowd finally on their feet.
M. Ward will be back with Zooey Deschanel with the release of She & Him, Volume 3 on Merge Records on May 9th. A North American Summer Tour will follow including a date at the famed Hollywood Bowl for KCRW‘s World Festival on Sunday, June 23, 2013.
Today is the absolute last day to subscribe and reserve your copy of Beautiful/Decay Book: 6. Book: 5 sold out in only a week and we’re already 80% sold out so if you want to avoid searching on Ebay to complete your B/D library subscribe today. Not only will you be reserving your copy but you’ll save yourself a bunch of cash.What’s there not to like about that? All Subscriptions will be shipping out Monday morning!
Photographer Lauren Perlstein serves up a hot dish of variety from forests to tatted up hooligans strapped on the toilet. Check out her Flickr account.
Tip Toland is an artist known for creating hyperrealistic, larger-than-life sculptures that confront the viewer with issues pertaining to identity and the body. We featured her in 2012, focusing on the aspects of her work that explored age, vulnerability, and death—material (and often stigmatized) states that have profound effects on personal psychologies. Characterizing her sculptures are combinations of clay, pastel, paint, and synthetic hair that create beautifully and uncomfortably real simulations of human anatomy.
In the years since then, Toland has continued to push the boundaries and create sculptures driven by important social messages. Featured here are various works: “Echo” (2014-15), “Africa,” and the “Africa Child” series (2014). “Echo” recalls many of Toland’s previous works: a nude, elderly woman appears to breathe deeply while her clouded eyes gaze skyward. What is most moving about this sculpture is the peace that emanates from her expression and figure; death and age are not feared, but rather accepted as states of near-transcendence.
“Africa” and “Africa Child” delve into more political territory, provoking questions pertaining to race, prejudice, and systems of objectification and “otherness.” “Africa” depicts a black woman awakening to an unseen problem, concern visible in her eyes. The “Africa Child” series involves five portraits of children with albinism, portraying—with astounding intricacy and realism—their expressions of fear and sadness. Explaining her motivations for “Africa Child,” Toland describes the extreme prejudice and violence enacted against those with this genetic condition in Tanzania:
“In Tanzania, horrific acts of mutilation have been taking place due to prejudice, ignorance, and superstition. According to lore, people with albinism are viewed as ghosts or bad omens. Despite this delusion, indigenous shamans have conjured up magical potions from body parts to bring wealth and good luck. Potions have been used in a variety of contexts: gold miners have poured them on the ground and fishermen have poured them on their nets or in their canoes. Living people are attacked and mutilated for their arms, legs, hair, genitalia, and blood. Ultimately the bottom line from these superstitions and prejudices is economic—in a country in which the average annual income is less than $450, a limb from a person with albinism can bring anywhere from $500 to $2,000.” (Source)
Certainly, Toland’s work challenges its audience, asking that the viewers acknowledge and examine systems of oppression and the violence occurring in Africa. But, as Kaiya Gordon astutely asks for the Pioneer Log, “What authority does Toland have to ‘inform’ viewers about a practice happening in Tanzania?” (Source) And how can we ensure that the viewer’s engagement is not one based in misinformation and unintentional, internalized systems of objectification? The pamphlet accompanying Toland’s 2014 exhibition at the Portland Art Museum states a progressive objective, deeming the works “portraits of horror that serve to inform Toland’s audience and, potentially, motivate them to take action” (Source). Trust, then, is left in the viewer to recognize—through the process of their own seeing—practices of “othering” and, by deconstructing these practices, foster a form of empathy and action that is not rooted in cultural assumptions.
Click here to view more of Toland’s work.
Toshio Saeki (b. 1945) is a Japanese erotic illustrator who creates controversial images of violence and morbid sexual acts. Perusing his collection is like stepping through the various moonlit rooms of a grotesque dream; as silent voyeurs, we witness placid-faced men, women, and demons engaging in strange, lust-filled scenarios that often involve necrophilia, murder, cannibalism, and genital mutilation. Images of sex and death uncomfortably collide as a woman kisses a skull and gropes herself with the corpse’s bony hand, while elsewhere poisonous snakes writhe out of a man’s tattoo during sex. Whether it’s aroused bodies swarming with cockroaches, or glaring eyeballs in the place of genitals, Saeki has an uncanny way of exposing the unconscious and disturbing the imagination in new and surprising ways. As he writes in an interview with Dazed:
“Leave other people to draw seemingly beautiful flowers that bloom within a nice, pleasant-looking scenery. I try instead to capture the vivid flowers that sometimes hide and sometimes grow within a shameless, immoral, and horrifying dream.” (Source)
Saeki’s hallucinatory and alarming style draws on a long tradition of Ukiyo-e woodblock prints and paintings from Edo-period Japan. In a variation called Shunga, these pieces depicted erotic scenes; take, for instance, Hokusai’s “The Dream of the Fisherman’s Wife,” a 1814 woodcut design showing a woman in the erotic embrace of an octopus. Many of Saeki’s works reference this image, incorporating “tentacle erotica” alongside unsettling situations that arrived from a combination of comic books, childhood nightmares, and lewd pictures he drew in high school. Depicting eroticism, power, and lust in startling and depraved ways, Saeki evokes conflicting, visceral sensations that both fascinate and repulse the viewer, making it hard to look away.
Saeki is now 70 years old and currently lives in rural Japan. Known as the “godfather of Japanese erotica,” his works have gained him fame and notoriety alike at home and abroad (Source). (Via Cvlt Nation)
Kevin Francis Gray’s neoclassicist-inspired sculptures are beautifully minimalist. Most of his work is created with leather, bronze, marble or fibreglass resin, depicting a stunning color palette of white, black, grey, brown, and gold. His subject is the human form and much of his work features shrouded figures. Gray attends to the detail and subtlety of the drapery that contain his figures, sometimes with a shocking element. His work exudes a familiarity and universality that is at once haunting and captivating. His work recently appeared in 2012’s Snow White and the Huntsman as a darker version of the mirror man. Gray was born in Northern Ireland and currently lives in London