Andrew Riggins Seamstress collage series deconstructs figures from porn magazines into contorted and grotesque body forms questioning notions of beauty, pornography, and body enhancement.
It’s not often that I post artwork by kids but the Aidan really struck a chord with me. Aidan is no ordinary 5 year old boy, in fact he is quite extraordinary. What sets him apart from most kids is his love for all things scary. He loves monsters, clowns, drawing, and dressing up. He doesn’t wait for Halloween to roll around to have an excuse to wear a costume. And you better believe while in costume he will break character for nothing. His Drawings are full of attitude and motion, featuring werewolfs, scary clowns, and ghoulish monsters (i.e. my favorite stuff!) We’re probably the first art blog to feature Aidan but don’t be too surprised if we shortly become the first Art publication to feature him as well!
Another thing that makes Aidan different than most children is that on September 13, 2010 he was diagnosed with Acute Lymphoblastic Leukemia (ALL). He was strong and pulled through his first round of chemo all while teasing his nurses and vistors. Although this was a small victory, Aidan unfortunately must go through 2 to 3 more years of chemo treatments and everything that goes along with that.
In an effort to help raise funds for Aidan Beautiful/Decay will donate $2 dollars from every subscription from October 29th to November 30th towards Aidan’s medical bills. It’s a small gesture but with the help of fellow B/D Cult members we can help raise money for a good cause and support our fellow artist Aidan. Make to forward this post to all your friends. I know that times are tough but one of our own needs us! So get those wallets out, get a subscription or two to Beautiful/Decay and help us kick some Acute Lymphoblastic Leukemia ass!
Through a process of experimentation and manipulation, Italian artist Daniele Papuli creates sensual paper sculptures that evoke feelings of quite nature and grandeur. Active as a sculptor since 1991, Papuli’s work has developed through various stages of materiality and process. His early pieces were focused on stone, wood, and plaster, however, in 1993 he learned to make paper, and by 1997 he began solely focusing on the potential of paper’s materiality. He explains his admiration for the material. He states; “according to the way in which it is moved, touched, cut, paper offers me numberless sensorial, visual and tactile suggestions engendered by its new structure. My work proceeds by returning these experiences, and searching about sculpture, its physical character, its connection to space.” In order to fully understand the material he turned to paper handling and production. He tested and trailed myriad combinations of mincing different types of paper, mixing them with herbs, grounds and colors. This process in which permits the artist to become intimate with his martial allows his work to have a distinct personality that exudes a certain essence of delicate vibrancy. He explains;
“sometimes the sculpture shows a sort of inner energy, the bending of the different sheets suggests the trend and development in the round. I am extremely interested in these manifold variations. Sometimes the shapes become paper monoliths faceted in many light lamellae where the different layers are like veins and the chromatic variations of the surface, yellowing as paper does in the sun, follow the metamorphosis by which the sheet traces back to wood, to the tree, to its primary mother-matter.”
The lighting in Vincent Skoglund’s Lightyears series is absolutely astonishing. Also make sure to check out his adidas adicolor series specially made for you sneaker heads.
On May 29 at the Musée d’Orsay in Paris, Luxembourgian performance artist Deborah de Robertis, wearing a gold sequined dress, plopped down in front of Gustav Courbet’s painting “The Origin of the World,” and spread her legs and vaginal lips, publicly exposing herself. The artist’s intent was to re-enact the famous painting, but with an open, exposed vagina in contrast to the vagina presented in Courbet’s piece. Eventually, de Robertis was escorted from the premises by police officers, and two museum guards filed sexual exhibitionist complaints against her after the incident.
“This is a typical case of disrespecting the museum’s rules, whether for a performance or not,” the Musée d’Orsay’s administration said in a statement. “No request for authorization was filed with us. And even if it had been, it’s not certain we would have accepted it as that may have upset our visitors.”
de Robertis, of course, disagrees with these accusations (as does Banksy). “If you ignore the context, you could construe this performance as an act of exhibitionism, but what I did was not an impulsive act,” she explained to Luxemburger Wort. “There is a gap in art history, the absent point of view of the object of the gaze. In his realist painting, the painter shows the open legs, but the vagina remains closed. He does not reveal the hole, that is to say, the eye. I am not showing my vagina, but I am revealing what we do not see in the painting, the eye of the vagina, the black hole, this concealed eye, this chasm, which, beyond the flesh, refers to infinity, to the origin of the origin.”
de Robertis says she’s performed this piece, “Mirror of Origin,” more than once in the same museum without causing a hysteric scene, and unsurprisingly, this is not the first time a performance artist has imitated a famous work of art by exposing their body: last year, performance artist Arthur G stripped down and appeared in front of Musée d’Orsay’s parade of male nudes, “Masculin/Masculin.” It is also not unusual for female performance artists to use their bodies as a medium for messages about our culture and the way it conceptualizes female anatomy and sexuality: I’m thinking of recent Beautiful/Decay features, like Milo Moire’s vaginal egg-dropping and Casey Jenkins’ vaginal knitting. The reactions garnered from such performances reflect our culture’s current conception of female anatomy and sexuality and prove that our stripped-bare biology continues to be seen as obscene, threatening, and attention-seeking, even within performance-based contexts. (via art fido)
Chinese artist Li Hongbo explores the adaptability of his medium by playing with the concept of the children’s toy called ‘paper gourd’. This toy is made from a stack of interconnected sheets of thin paper that can be stretched to form new shapes. Li Hongbo’s paper figures challenge the human form. Resembling human bodies, they rebuild the idea of what the human form can look like. The flexibility of these sculptures allows for a hyper-extension of the limbs, creating abstraction from realism. These elongated limbs, which have the ability to tumble out from the figure’s barely distinguishable core, allow us to find a new, playful and anomalous aesthetic. (via)
Bayo’s work depicts cheerless and melancholic worlds, where the main character is the psyque, as an epicenter of implosion and confrontation among the diverse layers of the subconscious level. Sometimes euphoric, sometimes epic, sometimes psychotic, his draw denotes such a trajectory where we are constantly infected with the deepest anxiety. His characters tend to avoid frontal sight, just like whoever notices contact as a mere exposition of his/her own fragility. Just as much as the arbitrariness of his forms allow us to see that he pays no devotion to the statutes of reason. His pieces travel throughout the harshness of obsessive details, the vagueness of repetition, and the sudden outbreak of movement. All of this in order to express the architecture of his emotions, with such a complexity that can”t be put as subtle.”
“Scribbled Line People” is a digital collaboration between New York-based illustrator Ayaka Ito and programmer Randy Church. Part of a “3D Motion and Particle” course, the two decided to embark on this project after discussing how to create an interface that could incorporate 3D scribbled lines into photography. Mutually inspired by Rachel Ducker’s wire sculptures and Erik Natzke’s Flash paintings, the duo uses both Flash and Photoshop to reconfigure photographic subjects into shredded images that are gracefully incorporated into their background compositions. Ito says, “Our objective in approaching the visual, was to create a series of answers to show how scribbled lines could develop normal portraits into abstract art.” (via the creator’s project)