Jonah Freeman and Justin Lowe’s Black Acid Co-op is a large scale installation of contrasting rooms and objects. The space is accessed through a large hole in the wall in the gallery space, requiring viewers of the work to physically climb through the entrance in order to experience it. While some space is sparse and empty, with evidence of abandonment and decay, others resemble a meth lab, a foreign shop, and a space of retreat. All spaces recontextualize the idea of installation space as a place of continual decay and renewal, calling upon viewers to directly engage with the various spaces. Deitch Projects commissioned this particular piece that was available for viewing in 2009.
Emily Deutchman’s “Presidents with Boob Faces” are exactly what it sounds like: a collection of paintings of the United States presidents with breasts appended to their facial features. After graduating from Skidmore College, the young artist found herself doodling human mammary glands on portraits of her friends, and she soon extended the project to historic leaders of the free world. With the exception of Obama’s portrait, which is modeled after the iconic “Change” poster, each piece is based off of its subject’s official presidential portrait. The facial features of each man dictates the placement of the breasts. For Ronald Reagan, it’s skin above the neck. For Clinton, it’s the nose. Some of the boobs are painted from actual breasts, sent to the artist by friends.
While Deutchman insists that the work has no clear agenda aside from humor, she invites political interpretations. With the expected candidacy of Hillary Clinton in 2016, dialogues on women in politics have come to the fore, and we are asked to consider the gender inequality that persists in the upper echelons of power. There are few art pieces that exude the machismo of the presidential portrait, and in adding female sex organs to the idealized masculine visage, the artist subverts our notion of national power and authority. Deutchman’s use of pastel-toned watercolors heighten the feminine softness inherent in the work. A more naughty glance at the work renders it a scathing satire of contemporary politics and the corruption of high offices. Take a look. (via Lost at E Minor)
Eyes, we all have them. And they’re attached to the body that we have to take to the gym, so why not go to a gym that’s good looking? Take EQUINOX fitness clubs for example. The décor is zen-spa inspired. The yoga room has relaxing lighting, it’s oval shaped with bamboo floors and every mat is neatly tucked away in its place.
Everywhere you turn it’s another tasteful sign, piece of furniture or gleaming surface- a far cry from the usual garish colors and cluttered ambiance of other gyms. The treadmills even have a place to plug in your iPod and charge it, if that isn’t attention to detail, I don’t know what is.
Beautiful/Decay readers, we know you’re a discerning bunch, and you appreciate thoughtful design and great aesthetics, so get yourself over to Equinox for a 3 day trial and soak up the good-looking atmosphere for yourself.
California-based artist Gregory Kloehn was tired of making sculptures for rich people. “It just sits there,” he said. “I kind of think that if you’re putting so much effort into something it would be nice if it actually did something.”
With the help of a close knit art community, Kloehn began his Homeless Homes Project, a collaborative endevour that provides sturdy, innovative and mobile shelters for the homeless.
They look like sculptures, but they actually serve a purpose.
Kloehn starts the process by installing beds, sinks, stoves, and storage shelves on regular old dumpsters and shipping containers. All of the ‘amenities’ are made with repurposed materials found on the streets.
To prove that his dumpster homes are fit to live, the artist put it to the test. He has actually lived in one that he built for himself, and fitted with such conveniences as granite counter topped kitchen, a microwave, a mini-stove, a fridge, and even a cushioned sofa.
With a successful run, Kloehn is a now a full-time home builder. So far he has built 10 tiny homes, some of which have already found tenants. (via Amusing Planet)
Today we say goodbye to yet another great B/D Book. Our second book in the B/D series is officially sold out! You will now have to search for it in stores and on the almighty eBay to find yourself a copy. To reserve future copies of Beautiful/Decay head over to our subscription page and subscribe today! Each subscription ensures that you get a copy of our book series before it hits stores and comes jam packed with hundreds of artists that will forever change your world view and put you at the edge of creativity.
The art of Ala Ebtekar is as simple as it is effective. Ebtekar was born in the United States and raised in California but retained a strong connection to the land of his heritage, Iran. You can nearly see in Ebtekar’s work a gazing at home from far away, a sort of portal. Ebtekar is definitely referencing the cosmic with this work. He says of the Sufi influence behind his work, “Sufis believe that existence is of two natures – both earthly and divine – and it’s that transition between these two states that’s represented by an arch. The arch could be in architecture, but it could also be a beloved’s eyebrow, and how that’s an entrance to that other space.” Ebtekar also subtly uses Western imagery in addressing this “other space” – you’ll notice some of these pieces printed on the back of science fiction movie posters.
Mads Perch is a wonderful master of light. He not only photographs sensual portraits beautifully, but also can manipulate projections with finesse. Working mostly as a commercial photographer, Perch together with art director Gemma Fletcher has become used to producing unfussy images quickly and efficiently. He has a sensitive style that would have no problem fitting in with the digital romantics.
This is a genre where artists are harnessing digital technologies in their search for the sublime: representing manifestations of Romanticism in the digital. (Source)
Perch does just that – his images are peaceful, ethereal, emotive and gentle. He evokes something very humane with the aid of different technologies. He says of his own work:
[My] photography encompasses clean, crisp, fresh and beautifully understated portraiture to more vivid imagery imbued with vibrancy, attitude and a healthy dose of color.
Perch’s choice of patterns and tones he projects are what make his portraits so enchanting. The blocks of greens and oranges caressing noses and draping over shoulders; the stripes bending around a gently tilted head; eyelids covered in technicolor plaid – these are what turn his subjects from something expected into something surprisingly celestial. Apart from these portraits, Perch has tried this method of projection on various buildings, structures and landscapes for an ad campaign in 2014. He has also photographed the award winning Klaxons ‘Surfing The Void’ album cover, and British rock group Clock Opera’s ‘Ways To Forget’ cover. All using a similarly clever and experimental approach to light and color. To see more of his beautiful work take a look here.
Maiko Takeda is a student of jewelry design and fashion, a fact that is apparent in these stunning photographs. Takeda’s portraits feature figures adorned or ornamented, creating interesting juxtapositions of light and shadow, geometry, space, and logic. Out of a simple and seemingly ordered concept emerges something intricate, chaotic, and mysterious. Takeda’s work is both elegant and bizarre, a world where beauty is revealed through obfuscation and composition. Takeda is currently pursuing a Masters in Millinery at the Royal College of Art.