September’s shirt of the month just head-banged its way into our online shop! This graphic features an ominously mystical magician casting smokey-sorcery of battle axes, panthers, horses of the apocalypse and more. The color way is an off white ink on a black shirt body. Perfect black-metal scheme for shredder shows, Sabbath-listening, and seances alike! Only 30 of these super-soft shirts made! Conjured into being by the one and only Kyle Thomas, who hand-drew each and every cover of Book 1.
About the Shirt of the Month
-Available exclusively on Beautiful/Decay online shop
-Unique color way printed in limited runs
-Available in advance before the season ships to retailers
-33% discount off retail price, at just $19.95 a shirt
Check out more tees that have been featured as Shirt of the Month after the jump!
I’m quite excited to see new work from Laura Simmons . Glamor magazine asked some of America’s top female artists to define the concept of glamor, and these images are the result of Laurie Simmons’. She has stayed true to her hand made house wife aesthetic and really made this project her own. I like how these images juxtapose pornographic images with a child’s doll house, her critic on an overtly sexual society within the concept of glamor comes through very well.
César Biojo defines his work as the controlled result of multiple accidents; the coexistence of two opposites: creation and destruction. Biojo starts with the figurative— constructing a character—and when he feels it is perfect he destroys it with the abstraction of extra paint and spatula rips and drags. The result is a perfect imperfection: a focus on the fragility and ephemerality of the human existence that asks if we were perfect for a moment? And then reassures you yes… but that moment has passed.
Expressive use of color, text, and perspective from NY artist Benjamin Degen. He also sports an extremely cool homepage on his website – simple but catchy and effective. Folksy yet refined, his work reminds me a little bit of Seurat. Find more at Guild & Greyshkul Gallery.
The subject of Miljohn Ruperto‘s work in the recent 2014 Whitney Biennial is taken from the mysterious Voynich manuscript. Dating back to the 15th century, the book contains indecipherable text, whose authorship, has been credited throughout history to aliens, ancient Mayans, and long forgotten tribes. It repeatedly stumps the brightest scholars and laymen making it one of the greatest and most misunderstood academic mysteries of all time. The only clues to its origins lie in 126 unidentified botanical studies accompanying the text. The illustrations of plants and figures, drawn in a weirdly fantastical style, tell a story which seem to mirror life’s age old mysteries. The project involving Ruperto and his collaborator, Ulrik Heltoft began by making 3D models of the plants, which were then photographed and transferred onto black and white analog film.
The end result, is a series of creepy snap shots recalling old hollywood publicity stills. Creakily formed branches and stems appear as strange appendages, as the plants take on otherworldly shapes illuminated by sinister shadows. The staging of Voynich’s botany not only becomes haunting and striking but everlasting, offering the viewer a mostly cinematic experience. An ongoing project, it will continue with the duo creating new photos of the specimens accompanied by large paintings of an enigmatic planet known as 55 canri e. 55 cancri e is part of the cancri planetary system which revolves around our sun. Astrophysicists have suggested it might be composed entirely out of diamonds. This came to light after studies found when the planet passed in front of the sun, it absorbed an enormous amount of energy. However, much like the Voynich and due to its enormous distance from earth shall probably only remain escapist fodder for our intellectual pursuits.
When not attending to his family’s masonry business, Hirotoshi Ito turns a more playful eye to the stones of his work day. Hirotoshi deftly works stone transforming it into sculptures that appear to be anything but the hard material. Rocks look as if they’re thin skinned pouches, melting like butter, and laughing faces. Hirotoshi’s sculptures – their playful forms and use of material – betray the artists sense of humor and a desire to pleasantly surprise the viewer. Indeed, the artist’s statement says that his work welcomes a laugh and a smile.
Charise Isis‘ Grace”, a series featuring portraits of women who are breast cancer survivors and have experienced Mastectomy Surgery, is a stunning compilation of images that simultaneously reinvents feminine beauty and inspires courage in women with similar experiences. The project’s process and presentation allows both subject and viewer to access a place of acceptance and beauty.
The photographic project is influenced by Hellenic sculpture (Greek). Its influence serves as a visual reference for the portraits; the draped cloths and the poses the women are photographed in are very indicative of the feminine portrayal in these hellenic sculptures (i.e “Venus De Milo” and “Nike of Samathrace”). According to the artist statement, the reference is also to implicate notions of the survival, adoration, beauty of old ‘artifacts’.
Furthermore, “Grace” is a continuation of the artist’s ongoing exploration of the feminine body and its perception of beauty in contemporary culture.
Until recently, an old, deteriorated collection of no less than one million crime scene photographs rested silently in the nearly forgotten archives of the Los Angeles Police department; spanning 150 years of violence and corruption, these images were only recently discovered by the photographer Merrick Morton, who has restored and salvaged many of the images, which will be exhibited at Paramount Pictures Studios from April 25-27 by Fototeka.
The crime scene image occupies a unique place in photographic history; in her seminal text On Photography, the theorist Susan Sontag describes the medium as a means of providing evidence, proof that is often skewed, corrupted by individual biases. Sontag also proposed that the photograph necessitates complicity; when Weegee rushed to crime scenes to capture the bodies of murder victims, for example, he was partaking perhaps in the fetishistic pleasure of violence.
Morton’s collection offers new insight into the discourse between crime fighting and art; unlike someone like Weegee, the modern photographer is also a reserve officer for the LAPD. The photographs he chose to restore and exhibit embody the very human tension between revolution and curiosity, for although these images were initially used to catch and reprimand criminals, they now function to satisfy our more voyeuristic yearnings.
Without context, these bullet holes, these nude, tattooed dead bodies are entirely open to our imagination and judgment, inviting our darkest fantasies and speculation. A pair of shoes, caught (perhaps accidentally) in the corner of a forensic image, shown beside a bloody carpet and a limp hand holding a shining knife, holds deeper psychological connotations when viewed as art, as a relic of an era gone by. Take a look. (via Feature Shoot)