The work of legendary street artist Banksy is now iconic, even throughout the larger art world. Photographer Nick Stern uses these easily recognizable images as a starting point. Stern literally brings Banksy’s pieces to life. He restages the wall art using real people and objects in place of the spray paint and posters. Using living subjects adds emphasis to the often powerful and startling art of Banksy.
French GIF artist Axel de Stampa creates Architecture Animée, a series of GIFS that show various buildings in motion, precisely to show them off through different perspectives. In opposition to the real life experience- one where the viewer moves around the building- these GIFS let the spectator remain static as the buildings shift and change positions.
The team at Beautiful/Decay wishes the entire Cult Of Decay a happy Memorial Day. We hope that all of you enjoy a much deserved break from the daily grind and spend the day relaxing, maxing, and eating too much food. We’re taking a break from blogging ourselves but no need to worry faithful B/D reader. That’s not our headquarters burning down in the background. We’ve just decided to enjoy a bit of California sunshine and spend the day outdoors behind the grill. We’ll be back tomorrow with piles of new art and design from around the world to keep you informed and inspired!
Rebecca Ward lives and works in Brooklyn, NY. She uses miles of colored tape to transform white exhibition spaces into dynamic rooms with vibrant intersections. The nature of the medium results in a temporary transformation and adds to the importance of in-person viewing. From her bio: “Ward frequently works with tape installations whose primary concerns are colour and space. Tape adheres to the gallery’s ceilings, walls and floors converging with the architecture. This perceptual play of colour, texture and light is set into motion by the viewer’s interaction with the work.” (via)
Although We Were Once a Fairytale (2007) begins slowly, with Kanye West stumbling drunkenly around a nightclub, the short film offers strange but rare insight into the celebrity/artist/god’s psychological complexes in a totally strange and successful way. He accomplishes this by stabbing himself in a bathroom, and producing a rodent from his guts. One of the main criticisms thrown Kanye’s way (other than pointing to his spectacular ego) is his inability to express himself coherently, but in his collaboration with Spike Jonze, Kanye seems to accomplish seemingly genuine and recognizable sentiment.
At first all of your assumptions about Kanye are affirmed: seeing him act like a shithead around the club, pitching back and forth barely able to stand, he is almost too easy to dislike. It’s about halfway through, when he ends up in the bathroom alone, that things begin to change. After he stabs himself, the vulnerable and repulsive creature he extracts from his streaming red-ribbon viscera creates an inner layer of Kanye most people are perhaps even unwilling to concede to him. Depending on how you look at it, it could be as cheesy/naive Bound 2 music video, but it’s difficult not to respect Kanye for the attempt to bare something deeper even when he is bashed so vehemently by pretty much anyone. The film defies direct interpretations. You have a sense of what the rodent represents: something living within, curious and grotesque, but it’s difficult to make sense of his relationship to the creature when he hands it a miniature knife. The final shot of Kanye’s expression maintains the ambiguity of the event, and keeps you thinking about it long after.
Fashion Illustrator Niki Pilkington draws girls you probably went to art school with. I enjoy how you can really feel Niki’s hand in her work.
Julius Hofmann lives and works in Germany. His acrylic on canvas paintings have depth and surface details that harken back to early stop motion puppet or clay animation stills. His work operates like a series of vignettes that may or may not be part of a unifying narrative. Themes of desperation, fear, and paranoia emerge from his muted scenes. Like projected nightmares Hofmann’s brash and haunting works thrill and mystify.
The abstract ‘paintings’ by artist Jayson Musson (also known by his alter-ego Hennessy Youngman) are created from piecing together Coogi sweaters, a brand of sweater popular in the late 1980’s and early 90’s. The sweaters carry especially specific associations – Clifford Huxtable of the TV sitcom the Cosby Show or the rapper Notorious B.I.G. However, the sweaters are also known for a specific style that lends itself well to abstract art. Musson elaborates:
“The thing I found most alluring about Coogi sweaters was how painterly they were. They seemingly lingered on the borders of gestural abstraction. I made the joke, “That Coogi looks like a Pollock”. Over the course of the following weeks, I began collecting images of the sweaters, studying their composition. They seemed to defy the traditional logic of the textile, opting instead to appear spontaneous and created by hand rather than machine-made. Each sweater, though a manufactured object seemed to seek its own authenticity.” [via]