Earlier this week I posted the Nephicide video featuring little kids projectile vomiting blood complete with black metal face paint. To round things out on the hip-hop side of things I present Yonkers by Tyler, The Creator. Watch Tyler play with giant insects, roll his eyes in the back of his head, have random nose bleeds, and most importantly vomit. If you’re not familiar with Tyler make sure to look him up. He’s part of ODD FUTURE WOLF GANG KILL THEM ALL (OFWGKTA), an LA hip-hop collective that has been getting some much deserved attention as of late. Watch the full video after the jump.
The women in Ewa Juszkiewicz‘s portraits have experienced a decapitation of an unusual sort: their heads replaced by a series of inanimate object from plants to mollusks.
“In my paintings I take critical view on the way women have been pictured in history of painting and other visual media up to today,” Juszkiewicz explains in her artist’s statement. “I work mostly in the field of portrait, which I intend to approach from a different angle that avoids focusing on the appearance.”
Her paintings, which are based on real historical portraits, seem to draw on some sort of surreal symbolism, perhaps meaningful partly because of their inscrutability. “I am interested in how the replacement of the face by different forms changes the perception of the human figure,” Juszkiewicz says.
In pursuit of that, she erases the identities of the women she portrays, completing their objectification literally. Her subjects are robbed of any sort of expression, instead gazing out at the viewer with an impassive beetle’s head or a shroud of cloth. (via Artnau)
Hitoshi Kuriyama creates elaborate light installations using complex clusters of shattered fluorescent light bulbs. With Kuriyama, fluorescent lights and LEDs become life forces that animate the darkness of the universe with an irregular, unpredictable rhythm.
Ashley Oubré is a self-taught artist from Washington, DC, who paints large-scale images that could easily be mistaken for photographs. Using graphite powder, India ink, and carbon pencil, she masterfully creates dramatic contrasts and realistic textures. The human subject is explored widely throughout her work, often portrayed in soul-searching states of vulnerability and contemplation. She also has a fascinating jellyfish series, in which she perfectly captures the invertebrates’ translucent bodies and trailing, ghost-like movements. Each of her works is marked by an accuracy that subtly transcends the boundaries of reality, drawing the viewer’s attention to the beauty of form by accentuating the details.
In a statement provided to Beautiful/Decay, Oubré described herself as an “artist who paints (my view of) the human condition.” A tangible presence surrounds her portraits. Drawn to subjects who have endured social hardships, Oubré’s grayscale style sensitively portrays the physical nuances of pain and rejection. Despite their defeated poses, the figures resonate with an honest and unwavering strength. By evoking powerful emotions in the viewer, Oubré’s work enacts a form of healing and empowerment through representation.
The seasons change, the brittle Autumn leaves fall to the fore, summer’s last days ebb a California surfer’s wave…what I’m trying to say is that yet another fearless intern, Greg Ruben, will be moving on from B/D. We here at B/D decided you readers might be interested to know who some of the folks are here who work tirelessly and relentlessly for stale bread, water and “experience” (aka interns)- and so we are spotlighting Greg, whose last day is today! Greg is a design student at UCLA and has contributed to some great graphics over the course of his stay here, as well as many rapier-sharp witted blog posts that I am sure you have come to know and love. His personal work is pretty cool too. So thank you for the music, Greg, and forgive me for tricking you into thinking the above photo was in some way related to a post about shipping out our latest season of B/D Apparel. (Hey, at least I told you to smile!)
Bernard Roig’s light sculptures capture a particular strain of ennui. While the idea of light tends to evoke a positive or uplifting feeling, Roig recontextualizes this element as a burden to his sculptures’ human subjects. Sometimes light crushes or imprisons this man, or seems to be a goal that will never be reached. The man is usually sculpted in white, brightening the effect of his subjects’ dissolution. Roig’s work addresses the boundary between the connect/disconnect of our culture’s relationship to light. “Today we are living in an atmosphere saturated with images, but the experience that they produce has a low intensity. Now it is ever more difficult to give meaning to an image. We are subjected to light, a light that dissolves the outlines of things, a white light within which everything fluctuates.”
Walter Robinson creates amusing sculptures that work as witty social criticisms about consumerism and popular culture.
I’m fascinated by the human drive to possess material objects and by our intransigent attachment to the things we own. In my work I investigate the ways that consumer products have been crafted to perpetuate hunger for more. Brand and corporate logos, mascots, cartoon characters, advertising text and signage are the semiotic sources I draw from.
Robinson subverts meanings of familiar brands and Western cultural symbols by tweaking their scale, context and color.
With marketing and adverting psychology in mind, Robinson uses seductive surfaces, saturated color, bling and glitter to draw his audience to examine their own relationship to consumer culture and it’s effect on the environment and world events.