Lernert & Sander embrace the urge for cosmetic overkill in Natural Beauty where they apply 365 layers (1 years worth) of makeup in one day to see how much is needed to go from a natural look to an outrageous one. Makeup artist Ferry van der Nat and his assistant Vanessa Chan helped to execute the vision, slathering a host of Ellis Faas products on Belgian beauty Hannelore Knuts, who was recently named the new face of Swiss fashion house Akris. Lernert & Sander began collaborating in 2006; since then they’ve done everything from melt a chocolate bunny with a hairdryer to repurpose household appliances as sex toys in the name of video art.
Artist Kozoo (featured in our newest B/D Issue!) worked on this giant cake as a member of small creative unit GwaGwa. The towering confectionary and large eating utensil was stationed in a mix-use complex in Roppongi, Tokyo and truly expressed the creative goals of GwaGwa to express the magic of childhood fantasies and everyday curiosities. Highly preferred over Godzilla.
In celebration of the upcoming 4th of July festivities, Beautiful/Decay has decided to launch an explosive 2 week sale! All of our latest Spring ‘09 inventory is on sale from $30 down to $25.95, and all other Beautiful/Decay apparel has been discounted from 10-50%! All of these shirts are close to sold out, and once gone, will not be re-printed. So be sure to take advantage of this opportunity- the sale ends July 15th! Click HERE to visit the shop!
AKA, the summation of my love affair with the internet. I saw this site on Rhizome.org 6 months ago, truly loved it for a day, forgot about it for a little bit, then wasn’t able to find it again and instantly regretted it (I remembered it as “MATHLAB” instead of “MATHWRATH”). Fortunately I was able to reunite with it yesterday when I saw it on VVork. I feel as if a part of my life has come full circle…
In his latest series, “I Have Something To Tell You”, Adrain Chesser uses his own illness, AIDS, in order to catalogue the pure, raw emotional reactions of his friends and family as they are told the terrible news . The Florida-born photographer, snapped portraits of his loved ones moments after he shared this life-changing information.
“When I thought about having to disclose my illness to my friends I would panic, which didn’t make sense, because I have an amazing group of friends who are all very loving and supportive”
Filled with a series of genuine reactions ranging from shock to panic to sadness, Chesser’s loved ones do not hold back. The beauty of this project relies on these subjects’ faces- most which reveal intense, unfiltered emotion. Chesser had long used photography as a method of interpreting and understanding his own emotional life– a “spiritual practice”, he calls it in a interview with Huffpost. The images, past and present, served him as tangible memories that later aide him to further understand past mistakes, or hidden victories. In this case, Chesser uses the camera as a mediator-a placeholder between two entities that feel broken, yet bonded by a painful experience.
Chesser believes that the diverse reactions of the 46 different people he photographed (without their prior knowledge of the project) reflect each individual’s personal experience with death and illness. He remembers everything from tears, to laughter, stoicism and confusion after confessing his diagnosis. (via HuffPost Arts)
Brutal, arresting, and violent, Molly Segal’s large format watercolors of hungry, rabid pack animals serve as symbols of both watchers of and participants within pernicious social situations; these scenarios, coupled with paintings of messy, passionate, unleashed sexuality are all depicted using loose, uncontrolled brush strokes, that often leave dripping paint behind. Her watercolors are made on a waterproof paper called Yupo, so before she even beings her process, she has initiated a battle between contradicting mediums. In her statement, she describes how this impacts her work:
“The loose, wet on wet technique of watercolor on Yupo paper helps me explore the ambiguities of our own boundaries. Because Yupo paper doesn’t absorb any of the paint all of the pigment sits on top, vulnerable to the elements and impermanent. The impermanence and vulnerability of the paint itself references the fleetingness of youth and the fluctuating nature of memory.”
Molly Segal is originally from Oakland and is currently an MFA candidate at The School of the Museum of Fine Arts in Boston.