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My room as a teenager was a sanctuary-my only safe place. My room was me, more specifically though, it was what I wanted to be at the moment. I wanted to be as bold, tough and flawless as my favorite musicians on the magazine cutouts on my wall. Truth is, I wasn’t any of those things. In fact, I was timid and self-conscious, an anxious girl who found it hard to make it through some days as I struggled with an anxiety disorder.
Every girl battles with herself and the burden of the transitions that come along with the teenage years; whether good or bad, her room is just an imprint of what she is going through.
Photographer Rania Matar’s recent collection of photographs, A Girl in her Room, explores the teenage girl in her habitat (her room), to further understand the origin of a teenager’s way of being. Matar wanted to capture the universality of teenage behavior by photographing girls in the U.S and the Middle East- both cultures she is very familiar with.
I became fascinated with the similar issues girls at that age face, regardless of culture, religion and background, as they learn to deal with all the pressures that arise as they become conscious and aware of the surrounding world wherever this may be.
As glossy, digital, full color perfection becomes the norm on brochures and other printed matter, the photocopier has become more of an artistic medium than a simple reproduction system. Jakob Johnsen’s collages and image manipulations are sublimely composed and pull on dark, thought-provoking subject matter.
Greg Eason of Norfolk, UK, has a hand for drawing very realistic pencil illustrations, to fantastic patterns and sketches that stretch and bend across his sketchbook page. There’s something very comforting in his illustrations, their lifelike feeling, and the vacant page that inhabits the characters of his pieces.
My current work explores the era Anthropocene, working primarily in pencil, and the focus of my current work is driven by the desire to push the physical limitations of scale. I am also interested in the unpredictable nature of pattern; my interest lies in the production of organic linear structures and the suggestion of fluidity through repeated marks.
“Found antique objects and miniature tintype photos form the emotional core of several works, juxtaposing the musty aura of a dusty attic with smooth, delicate ethereal forms, computer rendered yet exquisitely hand-crafted.”
Brooklyn via Russia artist Stanislav Ginzburg‘s Curiophyla is a series of staged photographs of original sculpture placed within specific, relevant mise en scène environs. The sculptures, beautiful references to cellular anatomy that incorporate emotionally charged vintage (and faux-vintage) tintype portraiture, take on a unique appeal when positioned amongst their ethereal settings. The overall aesthetic perfectly captures an elemental, organic feel (moss, insects, blood, etc.), while the photographic elements within the works offer a distinctly human connection. By reducing things to their most basic, cellular level, Ginzburg illustrates a deep connection between past and present. So beautiful.
Scott Wade lives on a dirt road, full of limestone dust that loves to rest on the back window of any car that goes through it. Seizing the opportunity, Wade, instead of writing something like “Scott was here,” started his very own genre of art, “Dirty Car Art.” Yes, Wade “paints” with dirt.
The magic of the family photograph lies in its flaws, and the curatorial team at website Awkward Family Photos has reminded us of this fact by collecting and cataloguing all of our charming photographic failings and reminding us that for every perfect chiclet smile, there’s a disgruntled side-eye or a bad haircut. The online collection is a testament to the bonds of family, and each accident betrays the touching vulnerability of each relationship.
The family photo album is a fragile, private thing; when made public, these images constitute a powerful and uncomfortable archive of American tradition and cultural shifts. While a photograph of mother, son, and daughter dressed to the nines in shoulder-padded polka-dots and acid wash jeans might have been swell in the ’80s, it serves now as a painful and permanent reminder of our fleeting coolness and relevance. In one image, a young man seductively holds a live snake; in a similarly embarrassing assertion of power within the family, a father superimposes himself over a cheesy portrait with now-outdated technology.
As family structures and fashion choices continue to shift, Awkward Family Photos is a visual historical narrative worthy of being preserved. And it will have its moment of glory in an upcoming exhibition at Santa Monica’s California Heritage Museum. The collection is to be arranged and hung in accordance with the following categories: “Family Portrait, Siblings, Vacation, Kids, Holidays, Weddings, Dad, Mom, Grandparents, Birthdays, and Family Pet.”
Exhibition goers will be invited to sit for their own portraits, which are to be added to the collection. This refreshing series is about embracing the awkward within us all; through each image, there are clear hints of love, charm, and unabashed playfulness. (via My Modern Met)
Photographer Bing Wright‘s newest project, Broken Mirror/Evening Sky, is a series of images that capture the reflections of sunsets on shattered mirrors. Its colors, textures and overall composition resembles the appearance of luminous stained glass windows. The cracked glass seemingly generates doubled reflections, disjointed gleams and refracted light into shards of images that instantly reminds the viewers of an abstractive painting. The final prints, recently displayed at the Paula Cooper Gallery in NY, are displayed quite large, measuring nearly 4′ across by 6′ tall.
This new body of work is Marks Wright’s first return to color photography in almost a decade.(via Colossal)