Argentinean artist and designer Francisco Miranda creates work in a variety of media from digital animations to graphic design. However his geometric wood collages are what really catch our eye. Miranda creates multi-layered wall objects and spatial installations from elaborately cut wooden forms. Reflecting on the architecture of his native city Buenos Aires, he looks at how the old has evolved into the new. His work combines elements of art nouveau and art deco to create an intricately ornamental species of caryatids to shape a futuristic Argentinean metropolis. (via Ignant)
Usually construction tunnels in the US are boring structures made out off steel bars and decaying plywood. But in France designer Miguel Chevalier, design firm Trafik and musical composer Michel Redolfi have come together to collaborate on a temporary tunnel between Forum Des Halles and the place carrée that will send you into sensory overload! Using LED technology “The Pixels Crossing 2012” is a sensory installation that features successive graphics and psychedelic colors all set to the music of Michel Redolfi. The result is the fantastical transformation of a regularly forgotten space that will make you rethink the drab and mundane corners of the city that we all walk by during our daily commute. ( via designboom)
Beautiful/Decay has partnered with premiere website builder 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 accessible with just a few clicks and no coding. This week we bring you the thick and gooey paintings of Annelie McKenzie.
Los Angeles painter Annelie McKenzie doesn’t delicately paint the figures in her works with thin transparent layers of paint. Instead she wields her brush and palette knife with abandon covering every square inch of her painting (and decorative frames) with brilliantly awkward paint handling. Dealing with themes of art history, gender, craft, and kitsch, McKenzie mixes high and low with thick globs of paint all the while referencing, acknowledging, and sampling compositions and techniques of the painters that came before her as well as her contemporaries.
In a world where there are fanatic fans of all things it should be no surprise that somewhere there is a large group of adults that are fanatical My Little Pony fans who convene once a year to celebrate all things “Brony” (a term used to describe themselves). Amy Lombard recently visited the yearly celebration called Bronycon to document the festivities for New York Magazine. You might think that Bronies are primarily females who are reliving their teenage years but much to our surprise most Bronies are adult males. I have to say that this takes the creep factor up a notch knowing that at least once a year hundreds of grown men cover themselves in glitter and fake horns and gallop around in a convention hall for several days straight. Is this an innocent geeky infatuation or a bunch of covert furries masquerading as My Little Pony fans? (via)
It’s Tuesday and time once again for our exclusive artist feature in partnership with premiere website builder Made With Color. Each week we join forces 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 gorgeous 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 multi-media work of Jonah Fernandez Olson.
Los Angeles based artist Jonah Fernandez Olson uses printmaking, rubbing, drawing, collage, and other markmaking techniques to investigate the process of landscape formation and the relationships between changing and static, internal and external personal environments. Recently he has been creating work focusing on the San Gabriel Mountains, the fastest growing and fastest eroding mountain range in the world.
“In my case, “drawing” is the formation of any object, and the object acts as landscape. I believe land formation, at its core, is no different from drawing, and the artist forms landscapes in a way that is no different in essence from how the earth’s surface is self generating, or how anything is created.
The creation, collection, and re-appropriation of elements colliding to form a topographical object is the drawing. The studio is the “core” containing his ephemeral detritus. Here, material has been melted down, eroded, and regurgitated into layers. Color is used as it surfaces in availability and necessity. Formations become descriptive or obscure. Landscapes endure, or they die at a faster rate and re-enter the core. The crust is fluid. “
Marina Abramović is one of the most compelling artists of our time. Seductive, fearless and outrageous, she has been redefining what art is for nearly forty years. Using her own body as a vehicle, pushing herself beyond her physical and mental limits, and at times risking her life in the process, Marina creates performances that challenge, shock and move us. Through her and with her, boundaries are crossed, consciousness expanded — and art as we know it is reborn.
The feature-length documentary film Marina Abramovic The Artist Is Present follows the artist as she prepares for what may be the most challenging performance of her life — a new piece that will be the highlight of a major retrospective of her work, taking place this spring at The Museum of Modern Art in New York.
To be given a retrospective at one of the world’s premiere museums is, for any living artist, the most exhilarating sort of milestone. For Marina, it is far more — it is the chance to finally silence the question she has been hearing over and over again for four decades: “But why is this art?” At 63, she has lost patience with being branded “alternative.” That designation, she says, just gives people license to rip her off. What she wants now is for performance art to be legitimated. She is thinking of her legacy — and the MOMA show, as she well knows, can secure it once and for all. “It is,” she says simply, “the most important [show] of my life.””
View some of our favorite videos and interviews with Marina Abramovic after the jump.
Beautiful/Decay has partnered with premiere website building platform Made With Color to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers who use Made With Color to create their clean and sleek websites. Made With Color helps artists create gorgeous websites without having to touch a line of code. This week we’re happy to bring you the work and website of Los Angeles painter Liz Carney. Her paintings are lathered in frosting-like abstraction that will make you hungry for cake and art alike.
Liz Carney’s paintings incorporate architectural and decorative home elements like Spanish tiles and decorative building facades to create thick colorful abstractions that could easily have been made by the finest frosted cupcake factory in the world. Using various paint spackling and squeezing methods Carney’s creations are strewn with neon detail, pattern, and movement that is just as much about deconstruction as they are about ornamentation. The result is a frosted and gooey synthetic world that is influenced by traditional architecture tropes but with the chaos and complexity of nature.
This week we’re bringing you another talented artist as part of our partnership with premiere website building platform Made With Color. Each week we bring you some of the most exciting artists and designers working today who are using Made With Color to create clean and sleek websites. Made With Color sites aren’t just easy on the eyes but feature powerful yet simple backend which allows anyone to create a professional site with just a few clicks.This week we are excited to share the layered and resin coated paintings of Kansas based painter Kent Michael Smith.
Composed of hovering masses of suspended geometric forms which produce both faux and literal shadows onto each other as well as onto the autonomous backgrounds; Kent Michael Smith’s paintings thrive within a realm of ambiguous representation. Likewise, the productions of the works are of equal conflict. On one hand they attempt to prescribe to a historical notion of painting that utilizes rendering properties of tinting and tone, while simultaneously producing a colored flatness of cut-paper collage…all floating on top of an often organic background.
Clearly, a conflict is at play.
The tonal nature of the conflict that is taking place within these paintings, is similar to the territorial passion that community members display when something moves into their neighborhood that is seemingly unsavory, or unwelcome. Whether the new entity produces an end result that is of catastrophic Armageddon-like consequences, or somehow complementary to the ubiquitous status quo; it makes no difference. While it isn’t difficult to imagine these progressively intruding forms as symbols of development and urban sprawl, Smith’s desire is for the implied conflict to be the first, and lasting, impression.