32 seconds of symmetrical bliss courtesy of 2veinte. Watch the full video after the jump.
Follow a hapless little chap on a terrifying journey through a cavernous clap factory.
Adam Vaudin makes art about everything that people should make art about like pizza, nachos, aliens, and pentagrams.
Gideon Chase is a 25 year old artist who currently lives and works in San Francisco. His gouache paintings are consistently clever and always laced with humor. Chase frequently frames a situation of objects in the midst or aftermath of an event. These occurrences are fantastical, arbitrary, and unceasingly fascinating. His images of Medieval Armor clad figures seemingly out of time and performing mundane acts allow for a light hearted reflection on our past, present, and future.
It took us nearly 6 months to get the new B/D site and shop up and running, so getting it off the ground was a huge relief for me and the other cult members over here at the office. Making the shop was relatively easy, as we do a lot of web related projects through our design agency Something In The Universe but we haven’t packed and shipped our own products for our online shop since 2003! Until now we’ve worked with various fulfillment companies to run our online shop. While these fulfillment companies did a good job we always felt a big disconnect with our biggest asset, our readers and fans (that’s YOU!) Sure, it’s nice to have someone else handle the packing and shipping of orders but we had zero interaction with the people that truly care about what we do. Being able to write a hand written note to a shopper when they buy our favorite shirt, or send them a few stickers for free, or toss a random ‘zine in your order just to make their day is what it’s all about. These are all little things that might not matter to bigger companies but they make a difference to us.
I never got into this to make a quick buck, so it’s a great feeling to finally connect with all the other creative memebers of the Cult Of Decay throughout the world. Our first week of shipping had a few glitches but we’re already getting a great response from you. It’s amazing to get so much positive feedback in less than a week! I sent out a package on Tuesday and by Friday I get a Tweet thanking us for the order. Technology is amazing! We got some big plans for the upcoming months so make sure to sign up for our email list to get special discount codes, updates on sales, artists interviews and a whole assortment of other B/D news that we can’t release just yet.
So a big shout out to the entire Cult of Decay no matter where you are. We’re a small group brought together by our love for pushing the envelope, creating amazing things, and doing things our own way. Long live the Cult Of Decay!
More feedback after the jump!
Brooklyn based artist Scott Albrecht has a new show opening this coming Friday July 3rd at Andenken Gallery in Amsterdam. Called Here And Now, it is an exploration of themes central to his work: time, inter-connectivity, perception, and consciousness. Albrecht has a holistic approach to his practice – working out different techniques and approaches to the same subjects. He uses a multitude of materials, but they are all definitely from the same collection, and have the same optimistic message: to appreciate life as it is and to live in the moment. He wants us perhaps, to sharpen our awareness of the moment.
The exhibition includes spiritual mottos inscribed on paper: “That brief moment when we forget where we are” “A moment in time”, “All things change”; psychedelic multi-textured star bursts assembled and collaged from paper, and carefully constructed wooden displays filled with philosophical musings.
Nostalgic and romantic, his work has titles that will pull at your heart strings: The Spark, The Visionary, Leaf Life Span, Adventurer, Easy Goer. They seem like personal tarot cards or affirmations for Albrecht. He explains the symbolism behind the leaves, hands and eyes in his work:
The hands are meant to be representative of personalities or character traits. I like using the hand as a canvas with the idea that you can be defined by your actions, and the hands are symbolic to helping facilitate those actions. The eyes are similar but represent observing individual situations. Here the focus is on the idea of those pivotal moments that we’ve all encountered. It’s also about being slightly more aware in your day to day. (Source)
Christopher Michlig is a Los Angeles-based artist interested in constructed environments. His show at the Devening Projects + Editions in Chicago is up until December 8. Check it out while you still can! This post is a mix of his current Chicago show and the show at Marine Contemporary that just ended. Great stuff!
“The term “urban fabric” often refers to everything that makes up the built environment, excluding environmental, economic, functional and sociocultural actualities. Using raw material culled from an archive of merchant posters Christopher Michlig collected from LA streets, Patternesque is a group of 16 collages, each a pattern study riffing on idiosyncratic typographic anatomy. While each collage is a distinct composition, common threads run throughout. Emphasizing the flexible, open-ended nature of the project, the work also suggests the morphology of urban space. Alongside the collages, Michlig presents a group of architecture-related relief sculptures. Based on a tradition of architectural model making in which massing models are used to dimensionally summarize the fundamental forms of buildings, Michlig’s “City Plan” relief sculptures interpret typographic space as proposed city plans. Reflective of the spaces from which the original posters were collected, while simultaneously nondescript, each city plan forces a consideration of the power dynamic of language itself as an imagined built environment.” – Christopher Michlig
photo credit: Josh White
Stemming from a desire to challenge the conventions of traditional portraiture, Bryan Drury has carefully selected affluent members of society to sit for him, and rather than acquiescing to expectations of flattery, he exploits the power of oil paint to describe their corporeal flaws as precisely as possible. Finding liberation in this reversal of patronage roles, Drury focuses on the organic quality of the flesh and shows the animalistic side of humans that we so commonly attempt to conceal. The works feature a single subject, executed with a painstaking degree of realism. The small-scale portraits capture the condescending and supercilious attitudes of the sitters, who gaze at the viewer with an air of disdain. Set against solid backgrounds, the sitters seem separated from the outside world, and their lifeless artificiality imbues the works with a sense of isolation. In an attempt to expose their vanity and the disconnect that exists between the corporeality of the body and the abstraction of identity, Drury meticulously renders facial details, paying special attention to imperfections and blemishes. His skillful use of light and shadow in portraits highlights the contours of the sitters’ faces, while the subtle glossy backgrounds further accentuate the tactile nature of the skin and hair.