Beautiful/Decay has partnered with premiere artist portfolio building platform Made With Color to bring you some of the most exciting contemporary artists working today. Made With Color allows you to create a website that is professional and easy to use with just a few clicks and no coding. If that’s not enough all Made With Color sites are optimized for mobile and tablet viewing so you’re site looks perfect no matter how it’s being viewed. This week we are happy bring you the work of Portland based artist and Made With Color user Wendy Red Star.
Over the course of her practice, Wendy Red Star has worked within and between the mediums of photography, sculpture, installation, performance and design. Red Star’s multilayered work influences are drawn from her tribal background (Crow Nation), daily surroundings, aesthetic experiences, collected snapshots of moments of the past and present, and stories that are both real and imagined. Through her photographs and sculpture a new cosmos is built, simultaneously urban-rural and high-low, conveying ideas through representations created from suggested associations of seemingly diverse sites, objects and ideas. HUD houses, rez cars, three legged dogs, powwow culture, indigenous commoditization, and Red Star’s personal collection of memories growing up as a half-breed on the Crow Indian reservation are used to excite a response in a form that can be experienced by others.
The work represents an insider/outsider view that is rich with complexity and contradiction. Red Star’s unruly approach examines the consumptive exposure of a cross section of American cultures while also being a meditation on her own identity. Her works explore the intersection between life on the reservation and the world outside of that environment. Red Star thinks of herself as a cultural archivist speaking sincerely about the experience of being a Crow Indian in contemporary society.
Olaf Breuning‘s The Art Freaks, is a group of color photographs transposing the signature styles of seminal 20th-century artists into prosaic body painting. If the manners in which Breuning’s subjects have been painted are not immediately identifiable, then titles like Andy, Frieda, and Piet confirm their references. Stemming from the artist’s recent investigation into his idiosyncratic relationship with modern and contemporary art, the larger than life-sized prints of elaborately painted bodies, which comprise The Art Freaks, conflate the tropes of so-called high and low artistic techniques as they discuss notions of kitsch, cliché, and reproduction.
As Breuning humorously attempts to imitate Takashi Murakami’s character Kiki (Takashi ) or the mounting release of Edvard Munch’s The Scream (1893) in Edvard (2011), he also mimics street performers who paint their bodies to transform into unique characters for the amusement, and pocket money, of passers-by; a tantamount treatment of craft, medium, and cultural signifiers that pervades Breuning’s multifarious oeuvre. Whether through his drawings, sculptures, or well-known website, the specific brand of pastiche Breuning employs in his work is a decidedly indiscriminate one that draws on everything from the Easter Bunny to Andy Warhol’s Marilyns.
Both humorous and uncanny, The Art Freaks not only questions our relationship to the enduring artworks Breuning choses to reference in his series, but also to the reproductions and consumable patina through which most of us experience these artists’ works and their distinctive aesthetics. (via davids sketchbook)
If you want to see more work by Olaf Breuning we recommend Beautiful/Decay Magazine Issue: Y which includes a very nice feature on the artist.
Dutch designer Yoni Lefevre’s series Grey Power has the simple aim of honoring our old and wise grandparents in a quirky, fun, and imaginative way. Using children drawings of their grandparents Lefevre transforms the hilariously bizarre drawings into charming and playful photographs that depicts grandparents as active and fun heros.
About the project Lefevre states:
“We are living in a rapidly ageing society. A majority regards this as a negative development. Older people are perceived as standing on the sideline, having lost their independence. But I see the great value this generation can offer. For ‘Grey Power’ I used drawings made by children of their grandparents, to create an image boost for this generation. Children do not regard their grandparents as grey and withered, but as active human beings who add color to their lives. Their fresh perspective can contribute towards a more nuanced and positive view on the composition of our society.”
We at Beautiful/Decay abosolutely love this project as it is proof that sometimes a simple concept can pack a powerful (and hilarious) punch. (via designboom)
The good folks at portfolio site builder Made With Color have teamed up with Beautiful/Decay yet again to bring you exclusive artist features. Each week we team up to bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Website builder Made With Color doesn’t just help artists create minimal and mobile/tablet responsive websites but allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work of talented artist and long time B/D friend Terence Hannum.
Terrence Hannum has always been consumed by music. When Terence isn’t in the studio creating his next work of art he can be found releasing zines, designing and releasing limited edition vinyl, and playing in his acclaimed minimalist black metal band Locrian. So it should come as no surprise to discover that Terrence’s artwork also explores the world of music. Using the magnetic tape found in cassettes as raw material, Hannum creates glossy and lustrous paintings that explore the world of minimalism and geometry.
Hannum states about this body of work:
“Typically one does not engage with the material of the cassette. Unless it was being eaten by a tape player, the average consumer never gazed upon its reflective spool. To this point most media requires a certain precious handling of it, the CD, DVD and LP require the listener to hold only the edge. Perhaps speaking to the ubiquity of the digital file these days, the MP3, FLAC, WAV and others have no real handling instructions. I want to focus on the surface. Hence, everything is the surface and in my pieces I try to construct a quiet void.”
I’ve known Drew Liverman longer than most other people in my life. Since the age of 14 we’ve gotten into all sorts of trouble together. At times we’ve lost touch for a year here or there but I feel a special connection to him that only happens when you spend your formative teenage years skateboarding and getting in trouble for graffiti together. One thing has been made clear over the last two decades of friendship with Drew. This guy is a creative super talent. I’ve always admired Drew’s creative abilities with anything that he takes on, whether it be our teenage graffiti shenanigans or his raw ability to jump from design, illustration, or painting with ease. With that said it’s no wonder that Young Sons, Drew’s latest collaborative project with Michael Ricioppo is also a visual feast.
Young Sons takes the concept of collaborative painting to new heights. Mixing a cornucopia of visual references from abstract expressionism to saturday morning cartoons, Ricioppo and Liverman work back and forth in unison and with intuitive speed canceling out, editing, and adding to one another’s marks. The result is a controlled chaos of line and form that is a bold mix of stream of consciousness and disciplined control.
See the work of Young Sons at Mass Gallery in Austin Texas through November 24th 2013 and read Andrew Bourne’s interview with them on Bomb.
Photographer and Indiana University Northwest professor Jennifer Greenburg has been gathering vintage negatives for years. In her work Revising History, Greenburg appropriates these black and white images by digitally inserting herself as a main character, mimicking the gestures of the moment and the clothing of the period. By circumventing someone else’s photographs and calling them her own, Greenburg exhibits the innately false nature of memory and the family snapshot.
I think a lot of artists collect old photographs as there is a sort of mystery and unknown to them. What made you decide to insert yourself into someone else’s memories?
“When I look at someone else’s life though the lens of someone else’s camera, I create my own stories. I have done this as long as I can remember. Usually when someone shows you their photographs, they cannot help but narrate the images. I ignore that narration. Instead, I make up a fantasy in my own mind. I idealize everything– becoming quite nostalgic– even if the subjects in the photos are completely unknown to me. I prefer a wistful interpretation. Photography is an interpretation of what is in front of the lens. Yet, as a culture, we rarely acknowledge that. We still believe that what we see in a photograph is truthful.
“The fantasy of all photographs is what I am commenting on through my work. By placing myself in a time and place that could not possibly be real, I address the concept that the lens does not hold much, or any, truth.”
You may have heard us mention our favorite website builder before : Made With Color. Well they’re at it again, adding new templates and new gallery styles so that artists and creative types everywhere can have a simple and beautiful way to showcase their talent.
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B/D has an ocean of talented readers, but we’re not all coders and technophiles, especially those of us who spend our days elbow deep in linseed oil. For those people, you need website builder that let’s you get your site up and running before you finish your morning coffee.
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when captured from the side, you can see how the individual layers of paint appear out of the white surface.
Swiss photographer Fabian Oefner’s latest “Orchid” series of paint actions depicts the ephemeral nature of gravity and fluid paint, frozen in time. In each image Oefner captures a fleeting moment with his camera which appear to look like sculptural floral blooms when in fact they are explosions of paint set into motion by gravity.
In his unique process Oefner filled a tank with several layers of different colors of liquid paint with the top layer being either black or white. Then, a sphere was thrown into the paint. As the falling object splashed into the tank, the paint was forced upwards, shaping the individual layers of paint into a blossom-like structure.
“Orchid” is about preserving ephemeral beauty. Photographed with high speed devices, these images capture structures of sublime elegance, which appear only for a fraction of a second before disappearing beneath the surface again. (via designboom)