Feast your eyes on the highly amusing creations of Massachusetts-based photographer Nadine Boughton. When the artist came across a collection of vintage men’s adventure magazines (…think “Weasels Ripped My Flesh!” and “Chewed To Bits By Giant Turtles!”) at a flea market, she was inspired to combine their over-the-top renderings of burly men saving damsels-in-distress with the clean interiors spotted in contemporary Better Homes and Gardens.
About the series, the artist says: “Here is a collision of two worlds: men’s adventure magazines or “sweats” meets Better Homes and Gardens. These photocollages are set against the backdrop of the McCarthy era, advertising, sexual repression, WWII and the Korean War. The cool, insular world of mid-century modern living glossed over all danger and darkness, which the heroic male fought off in every corner.” (Via Flavorwire)
Chad Kouri always dreamed of being a designer, and he took the first major step towards making that dream a reality with a freelance gig at the age of sixteen. Ten years later, he has become what some refer to as a cultural engineer. A founding member of the Chicago-based art and design incubator, The Post Family, previous Art Director of Proximity Magazine and recognition as one of Chicago’s Newcity Breakout Artists of 2010 are only a few of his numerous accomplishments. Kouri has been involved with more than thirty different projects over the last two years, and shows no signs of slowing down. For many, there is still a huge chasm between the worlds of design and fine arts, but this distinction is of no interest to Chad Kouri. Un-phased, he continues to breakdown the walls attempting to separate the two industries. A recent collaboration with artists Stephen Eichhorn and Cody Hudson at the Patty and Rusty Rueff Gallery marks his first foray into exhibiting at an institutional level, but with an upcoming solo show at the Rochester Museum of Fine Art slated for the winter of 2012 it will obviously not be his last. Kouri describes his practice as having, “equal interests in conceptual art, consumer culture, typography, design, jazz and the gray areas between these fields, my body of work is more a collection of various ongoing projects, thoughts and experiments tied together by a strong sense of composition, concise documentation and an overall vibe of optimism than a seamless display of a style or genre.” I am excited to watch this process evolve, and I wish him good luck for the future – but somehow I don’t think he’ll need it.
Welcome to this weeks offering of Click To Collect, Beautiful/Decay’s campaign to help art lovers start their collection of original artists works at affordable prices. Our featured artist this week is the talented Bay Area artist Ryan De La Hoz whose cut paper collages mix razor sharp scissor skills with tightly drawn graphics and patterns. This is our first collaboration with Ryan and with original works (some even framed!) starting at only $100 you can’t go wrong! Find out more about Ryan’s work, his exhibition history, and about Click To Collect after the jump!
Philadelphia-based Armando Veve‘s impressive body of work shows his ability, and eagerness, to explore several different drawing methods, from the naive to the refined. In doing so, he leaves no doubt to the viewer that he makes a choice, and executes that choice with clear intent. He doesn’t seem to have many limitations. He also dabbles in ceramics, curation, and digital abstractions. At this pace, his work will only get better and better, and endless gifts will be bestowed upon us just for looking.
Martin Hugo’s sketchbooks détourné the commercial imagery he encountered while designing corporate fashion in the “Empire State.” These books read as Hugo’s coping mechanism for trafficking in cultures he actively disdains. Using styles from esoteric hardcore music and quotidian visual culture, Hugo degrades and problematizes “high-brow” mainstays like the fashion industry, the contemporary art world, and our global plutocracy. But these minimal collages would be a bore if they were just well-designed, on-the-nose crits of capitalism’s look and effect; whether it’s through his deft rebranding of The Whitney (it rhymes), or by imploring us to “Support Our Predator Drones,” it’s Hugo’s gallows humor that makes them shine. He is able to look into the abyss of American culture and find the ha-has we need to get through the (last) day(s).
I love Hunter Payne. His work takes me back to a simple time without being simple. Out of all the shakey hand intimate portraits that are currently sieging the art world, these creations that float through the crazy artist’s brain are by far the most enjoyable because of their lack of pretense. Hunter’s humble nature and childlike wonder bring questions forth about the necessity for seriousness in art. More after the jump.
Rusty Shackleford creates collages, sculptures, and arrangements that investigate the relationship between image and form, engaging vintage printed matter to extrude its inherent qualities, of color, context, and nostalgia. The resulting images are delicately poised between abstraction and representation, paint and print. Shackleford does not treat his images preciously: he ravages them with swaths of paint, but he strikes a surprising equilibrium between readymade and intervention. His sculptures function similarly to his collages, where color and form, executed boldly in a minimal, Modernist style, integrate smoothly with the colors and forms in their surroundings.
Distortion, illusion, and psychedelic alterations can all be found in the hand cut collage work of Lola Dupré. My favorites are the well known images that she re-imagines in her trippy explosive cut paper interpretations like the above drawing by M.C. Escher.