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Studio Visit: Noah Becker

Noah Becker graciously allowed Beautiful/Decay into his Canadian studio to view his new body of work.   Becker is about to open a second studio in New York this September for the fall 2012-13 art season.  This is a correspondence studio visit, Beautiful/Decay requested the photos and they were provided by another photographer.  Although the paintings are clearly portraits, Noah describes his newest work as figurative instead of portraiture.   I recognize a few of the faces but generally the paintings aren’t obviously people we should know, and because they aren’t it follows that they can’t be portraits in the traditional meaning of a portrait of a specific person.  Noah presents us with a romantic vision of elegant people, people who are good at living!  Wish I was one of those, ha.  Some of the folks feel like 70s’ rock stars or maybe authors from the 30s’, and I think I recognize some of Velasquez’s Spanish Renaissance princes.  When asked Becker mentions “stillness and time frozen in a moment,” which is a way to talk about the strange nowness of consciousness, or possibly he’s saying the point of modern life is to be elegant in the absence of direction.  If you don’t know what you’re doing, you might as well do nothing with style.

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Dirty Beach TV

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If you’ve ever been to London and meandered along the Thames, chances are you’ve witnessed the Dirty Beach crew in action. But you don’t have to leave your seat to partake in the fun, nor to see what these purveyors of grainy sculptures are up to; just visit Dirty Beach tv… what more can I say… enjoy!

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C inical Depression Zine

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One of the best things about publishing a magazine is having packages from distant lands (Canada) show up in our PO Box. You never know what you’re going to get. Sometimes we get complete junk…. but once in a while, we hit the jackpot with something that you want to hang on to. Case in point: this cool mini ‘zine by T. Reilly Hodgson called C inical Depression. Not only is this a great example of what a few bucks and some time at your local copy center can create, but I also love getting packages with hand written notes. Even our address is tricked out on the envelope! Reminds me of B/D’s humble beginnings when we hand wrote notes to subscribers. Maybe we should go back to that?

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Taisuke Koyama

Taisuke Koyama

Taisuke Koyama describes his works as “organic abstract photography”. He shoots surfaces and various states of degradation of artifacts in a city and thinks about those changes in state as the city’s metabolism- it’s an organism that’s changing every moment. It’s such a simple and beautiful idea.

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Hanksy: The Puntastic Street Fartist

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Just when you thought Banksy was the real trickster of the art world, along comes . . . Hanksy, the puntastic street fartist. His use of satire not only challenges the smug, but playfully subverts the current street art standard with a necessary dose of light antagonism.

Check out the video after the jump to see a short documentary about Hanksy’s mysterious persona: his meager “greeting card” beginnings and current mission statement, which centers on a dream of meeting Tom Hanks.

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Erika Yamashiro’s Mushroom Capped Fantasy

In Japanese artist Erika Yamashiro paintings and drawings pretty angelic girls live in a fantasy world full of small cuddly critters and  magical mushrooms. These worlds are where  young girls go to escape reality and find the place that they inhabit in their sleep.

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Able Parris

changing_imagination_collage670 East coast Collage artist and lover of type, Able Parris, offers any art-tuned web-explorer a selection of delights. I suggest starting with his collage collections and Able’s sketchbook videos. and viewing his other work as featured on tumblr. Able shares his collage art through downloadable wallpapers, and shares his editorial perspectives as a frequent contributor to both Graphic Hug and We Love Typography. Thanks for sharing, Able!

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Tim Lewis’ Mechanical Osterich Sculpture

 

British artist Tim Lewis’ Pony has an ostrich-like anatomy constructed from three mechanical arms, as athletically human as they are programmatically robotic. Like Jetsam, Pony appears as less animated object, more independent entity, moving across the floor towing an empty carriage, the ‘ostrich’ is autonomous rather than interactive. Born of mechanics in the same way that genetics engineers use science, Pony is a sculptural creature that is full of wonder with a creepy prehistoric robot feel. See more of Tim Lewis’ work after the jump.

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