This Thanksgiving we wanted to thank all of our loyal followers for supporting us over the last 20 years! To give thanks we’ve made it easy for you to save big without having to leave the comfort of your home so you can spend more time with friends and family. Between Thursday November 26th until Midnight Monday the 30th everything on the Beautiful/Decay shop is 50% off! Use discount code holiday50 to get all our books, magazines, artist posters, shirts and accessories at half the price. We have limited quantities of everything and will not be restocking any sold out products so act fast to take advantage of this rare holiday sale!
Photographer Edo Bertoglio was a pioneer of his time. He became involved in the scene in downtown New York in the 80s during a time of energy, creativity and luxury, and captured intimate moments of celebrities, art stars and night owls involved in that scene. His new book New York Polaroids 1976-1989 is a collection of those times and showcases a candid side to many people not rarely seen, and used the Polaroid camera in a way not commonly used. Bertoglio frequented clubs like CBGB and Studio 54, and snapped images of Andy Warhol, Jean-Michel Basquiat, Grace Jones, Debbie Harry and Madonna. In fact, one image that Bertoglio had taken of Madonna was meant to be the cover for her Like A Virgin record, until the producers had a change of heart at the last moment.
He used the Polaroid SX70 because it was a portable, durable, instant camera, and meant that Bertoglio could easily travel at his will – from vacations to Greece or Porto Rico, to spontaneous motorcycle trips to Staten Island – and take photos easily. The native Swiss photographer has exploited the characteristics of the polaroid camera and used them as stylistic nuances. Blurs, light flares, and unexpected color spots become a feature of his work.
He infuses many of his polaroids with a distinctive pop quality, hyper-real, pre-digital, playing with an unmistakable intertwining of silhouettes and intense, lively, counterposed tones, faded mono- chrome atmospheres, clear-cut juxtapositions of subjects, forms and colors, close-ups and backgrounds. He has synthesized the narcissistic and decadent hue of his time.
His book is available to purchase here at Yard Press.
These bright, candied installation pieces are the work of Australian artist Tanya Schultz. Working under the name Pip & Pop, Schultz employs sugar, glitter, fake flowers, and a myriad of other materials to produce the colorful mounds of awesomeness. It’s not a far stretch to picture the works as actual landscapes- to fantasize about walking around in Pip & Pop’s unique world. Diabetes was never so easy on the eyes ’til now. More after the jump. (via)
Alejandra Villasmil is a Venezuelan artist who lives and works out of Santiago de Chile since 2007. I like the broad scope of work and use of absurd sculptural mediums.
The artist Alicia Martin Lopez gives form to her emotional demons through her darkly seen paintings; imagining the shapes and tones of oft-repressed memories and desires, her work dares to plunge into the depths of human fear. With their infinitely cavernous black eyes, Lopez’s disquietingly amorphous characters invite viewers into the nightmarish dreamscape of our own psychological narratives.
Lopez’s frightful beings inhabit a space outside the confines of time; day and night blur together as light pours in and leaks out of the scene without cause. The monsters are wildly unbound, floating in midair, drifting on water, or holding desperately to rock formations, toes clinched with uncertainty. Like thoughts that flood the darkest corners of the human psyche, the beasts may appear at any time in any place, haunting the mind’s eye without warning.
As soon as they rear their heads, however, the creatures are woefully repressed; one octopus-like animal sits confined in a cell, his crooked neck craning to accommodate a sickly grey face. Like our own private demons, Lopez’s creatures are starved of attention and psychic nourishment, kept bottled in the murky depths of subconscious memory. They each stare downward as if collapsed by the space above them, their bodies bracing against the weight of repression. A flying squid’s wings appear as if crushed by exhaustion; sea creatures’ bearded faces droop into impossibly still water, their sorrowful expressions reflected back at them.
These animals are a tangible reminder of memories and sufferings that refuse to stay buried; collapsing in upon themselves, they beg for our recognition. In granting form to formless worries, the artist suggests that our psychological demons are perhaps less fearful than they are beautifully, mournfully sympathetic. Take a look. (via Hi Fructose and Juxtapoz)
Bill Cunningham is arguably the ultimate fashion trend forecaster. For decades he has been photographing not only what the people of NYC are wearing on the street but how. He is loved and celebrated by his coworkers at the New York Times and the entire New York fashion world as being the ultimate source for what’s happening in fashion right now and where the trends are going next. Not caring about class, his subjects range from strangers on the street jumping over rain puddles to high powered Fashion bigwigs such as Vogue‘s Editor-In-Chief Anna Wintour. This type of professional clout would surely provide most photographers wealth and access to the powerful but Bill Cunningham will have none of that. Not only does Bill detest money but he refuses to be a slave to it. Having turned opportunities to cash in on his talents he prefers a simpler life of traveling around town on his old crappy bike, wearing a street sweepers jacket, and living in a tiny studio apartment with no bathroom and kitchen. Bill’s level of dedication and high level of ethics is unbelievable and should make all of us press the pause button and question the things we do to get ahead. He is a simple man doing extraordinary work that future generations will look back at for many years to come.
If you’re involved in the fashion world or work in any creative field then this is the movie for you. I rarely see a movie twice but I will be sure to watch Bill Cunningham New York again and again so I can be reminded of why we sometimes have to make great sacrifices for our art. Watch the trailer for the movie after the jump.
Justin Blyth is getting vintage futuristic on you with no apologies. These turbotronic images are a mix of digital, xerox and collage. He’s showing as part of a group show in Amsterdam in March.