Professional Documents
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JONY IVE
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KAZU
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DAN WITZ
DAN WITZ
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JONY IVE
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RYAN McGINNESS
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SUZANNAH SINCLAIR
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LEE CHEN-DAO
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The Art of the Mandala
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TOP ROW: The Saddest Place on Earth (Camille Rose Garcia) Through Prehensile Eyes (Robert Williams) The Snow
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www.lastgasp.com/PIEBOOKS
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EDITORS LETTER
14
STUDIO TIME
PAUL WACKERS
18
THE REPORT
24
PICTURE BOOK
32
EVENT
36
FASHION
42
INFLUENCES
48
DAN WITZ
60
LEE CHEN-DAO
70
KAZU
78
SUZANNAH SINCLAIR
88
96
BILL SAYLOR
104
TRAVEL INSIDER
108
IN SESSION
110
BOOK REVIEWS
114
PROFILE
118
GIFT GUIDE
120
SIEBEN ON LIFE
122
POP LIFE
126
PERSPECTIVE
JUXTAPOZ.COM
GREGORY HALPERN
KANSAS CITY
JAKE FRIED
JONY IVE
Ryan McGinness in his NYC studio
Photo by Jennifer Livingston
Photo courtesy of Ryan McGinness
Studios, Inc. / Art Resource, NY,
Ryan McGinness / Artists Rights Society
(ARS), New York
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DAN WITZ
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KAZU
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JONY IVE
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RYAN McGINNESS
JANUARY, n168
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ISSUE NO 168
The mosh pit will reveal all the answers. The mosh pit
never lies. Norah, from Rachel Cohns Nick & Norah's
Innite Playlist
ITS A LITTLE AUDACIOUS TO START AN EDITORS LETTER
quoting YA ction. But for the past few months, as we
nished our newest book, Juxtapoz Hyperreal, and began
working with Brooklyns Dan Witz, this line indeed kept
playing back in my head as if to dene a general feeling
I had about Witzs work and his place in the book. We
are working with something real here, and even though
there is an alternate-reality component to hyperrealism
and an abstracted process that goes into the wonderfully
dark, energetic mosh pit paintings of Dan Witz, there are
undeniable revelations about the human condition. As
hyperrealism aims to enhance the illusion of a reality, the
mosh pit intensies the experience of music to an almost
primitive act of motion and action. And Dan Witz has found a
way to forge these acts together.
Dan is a painter, street artist, photographer, documentarian,
political interventionist, musician, and someone I consider
to be a realist in more ways than one. He is simultaneously
anti-authoritarian and oblivious to trends while being a
pioneer who is astutely aware of art history. His forays into
10 |
JANUARY 2015
Dan Witz
Mosh Pit Study (Jets)
2014
STUDIO TIME
PAUL WACKERS
A studio with lots of plants, naturally
THIS IS MY STUDIO IN WHAT IS NOW CALLED EAST
Williamsburg, where I have been for about two and a half
years. I really like the studio, and before this spot, I was in
a space shared with about ve other people. It was always
hard to tell that so many people were in there since we were
so crammed in, and I had no windows in and around my
10 x 10 nook. So when I saw this corner spot with a door I
could close, and so many windows (I even I had to board up
a set for wall space), I said, Ill take it."
their own. But this studio works, and I love it. Its not always
as messy as in this picture, but maybe it isseems like I am
always playing catch up for one thing or another. I wouldnt
have it any other way. I love what I do and am always
grateful that somebody out there wants to see it.
14 |
JANUARY 2015
Keith Haring, Untitled, 1982. Vinyl paint on vinyl tarpaulin. Collection of Sloan and Roger Barnett. Keith Haring artwork Keith Haring Foundation
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SUHPLHUHDWWKHGH<RXQJZLWKPRUHWKDQZRUNVRIDUWThe Political LineOHQGVJUDYLWDVWR
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THE REPORT
above
Portrait by Jennifer Livingston (detail)
opposite
Plastic Reality
Oil, acrylic and metal leaf on
wood panel in artists frame,
28" x 36"
2014
Photo courtesy of Ryan McGinness
Studios, Inc. / Art Resource, NY,
Ryan McGinness / Artists Rights
Society (ARS), New York
18 |
JANUARY 2015
| 19
20
JANUARY 2015
THE REPORT
JANUARY 2015
| 23
PICTURE BOOK
GREGORY HALPERN
Beyond the postcard
LOOKING BACK OVER THE NUMEROUS PHOTOGRAPHY
titles from the last year, The Photographer's Playbook is
a standout, despite having very few actual photographs.
With the assistance of 307 established photographers, the
book provides insight into approaching and understanding
the genre and could be viewed as a guide for the creatively
blocked on how to enjoy taking photographs again. Two
photographers carefully edited the volume, and Gregory
Halpern was one of them.
Back in 1998, while pursuing a B.A. at Harvard, Halpern
embarked on a ve-year-long project that involved
compiling photographs and interviewing service
employees, such as cooks, custodians, security guards
and dishwashers, while working with The Living Wage
Campaign. The goal was to raise awareness that one of
the wealthiest universities in the country not only refused
to pay a basic living standard to the workers that kept
it running, but was actually cutting wages. Halperns
rst publication, Harvard Works Because We Do, was
the outcome of this arduous undertaking which drew
national media attention and resulted in a victory for the
24 |
JANUARY 2015
| 25
| 27
28
JANUARY 2015
| 29
EVENT
FERTILE GROUND
OVER THE BAY
SFMOMA and OMCA on Bay Area art history,
from Frida Kahlo to the Mission School
MEANDERING ESTUARIES AND TECTONIC PLATES THAT
surround the Bay Area have cultivated an aura of it being
the end of the world, not in a negative connotation, but
more as a place of endless possibilities and exploration.
What was founded on Gold Rush ambition has informed
groundbreaking culinary, musical and technological
excellence, with the latter endowing the Bay Areas
identity going on two decades. In Fertile Ground: Art and
Community in California, the collections from the Oakland
Museum of California and SFMOMA are grafted into a new
appreciation for Northern Californias consistently prolic
breeding ground of artistic movements.
32 |
JANUARY 2015
EVENT JUXTAPOZ
| 33
34 |
JANUARY 2015
JUXTAPOZ.COM / SFMOMA
FA S H I O N
NOT AFRAID OF
VIRGINIA WOOLF
Matija Cops unorthodox fashion laboratory
MATIJA COPS DESIGNS INSPIRE INSTANT INTRIGUE.
What are they made of? Who is the mastermind behind
these unbelievable shapes? We tracked down the young
Croatian designer, who is not only inspired by throwback
futuristic lms, but also by literature and architecture.
Reminiscent of exoskeletons mixed with futuristic
Elizabethan regalia, there is no line between art and
fashion in his designs. They are one and the same.
Kristin Farr: How did you get into fashion design?
Matija Cop: Quite spontaneously. I studied at the Faculty
of Humanities and Social Sciences in Zagreb, but realized
that I couldnt express myself completely, so I decided to
enroll in fashion design. I see now that it was a good move
for me, but Im glad I got to experience a different approach
to humanity. I now use theory as a starting point for my
concepts, and then I translate it into the visual language of
fashion design.
Tell me about life in Croatia.
Its interesting because we are a country in transition. Until
1990, we were part of Yugoslavia and socialism. People
who are living in socialism are still alive, and they are a
little bit stuck in their own confused thoughts that are then
implemented in society. As we are a young, independent
country, I think younger people have the opportunity
to create and express themselves in a more subversive
way. Thats why we have a lot of subversive, queer and
contemporary performance artists and designers who are
somehow ghting against that socialistic state of mind.
Political structure and economy is also in transition, trying to
develop in a more protable, capitalistic way.
The best part of Croatia is probably the coastline and
islands, which are incredible and possibly some of the best
spots in the Mediterraneanreally authentic and wild, in a
way. Youve maybe heard about Dubrovnik or Hvar as some
of most beautiful parts of our coastline. The whole coast
36 |
JANUARY 2015
FASHION JUXTAPOZ
| 37
38 |
JUXTAPOZ FASHION
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OTTAWA
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BERNARDI ROIG
NO/Escape
Through March 8, 2015
Contemporary
art projects
inspired by the
art and spaces
in The Phillips
Collection
INFLUENCES
42 |
JANUARY 2015
The Mission
SCOPE was the rst in what our industry affectionately
calls satellite fairs, but our mission sets us apart: We
create opportunities for young, emerging galleries, artists
and curators to achieve a level of exposure unavailable
anywhere else. We do this by constantly reinventing the art
fair model. A few examples are SCOPEs Breeder Program,
which offers opportunity to young galleries that normally
could not afford to participate in an art fair; our FEATURE
program often works with governmental agencies to
present curated sections of the fair and special projects,
and our strategic partnerships with brands like VH1, Fiat,
Red Bull, Heineken and Bombay Sapphire. As our industry
begins to deeply embed itself in pop culture, SCOPE is
leading the charge in making emerging artwork accessible
and rising artists successful.
Cant Stop, Wont Stop
Non-show months do not exist. As soon as one fair closes,
our staff is already in the throes of planning the next edition.
Its pretty much known that SCOPE throws the best events
from way back when we helped launch the Scissor Sisters,
to our present partnership with VH1. Weve had sprawling
warehouse parties, intimate cocktail events at luxury hotels
who started at SCOPE for whom I can say the same thing.
Curation by Swizz Beatz
For our 2014 Miami Beach fair, I am very excited to be
working with Kaseem "Swizz Beatz" Dean, who is curating a
selection of artists representative of The Dean Collection.
There will be four artists creating site-specic installations
around the fair, all of whom will be working directly with
Swizz Beatz for curatorial direction. This is a big highlight
for me.
I was rst introduced to Swizz Beatz by an artist named
Hebru Brantley. I was in Chicago, judging Red Bulls Canvas
Cooler Project, and I snuck upstairs to visit with Hebru in
his studio. While I was admiring a particular painting, Hebru
mentioned that Swizz Beatz had just acquired it for The
Dean Collection, along with several others. I tucked that bit
of knowledge in the back of my mind and two years later,
when brainstorming on who would be the subject of SCOPE
+ VH1s Art + Music partnership in 2013, I immediately
thought of Swizz and Hebru. I reached out to Hebru, et voil!
Next thing I knew, we were all on set with VH1s creative
team, led by Phil Delbourgo, lming a really awesome spot,
which aired for over a month.
INFLUENCES JUXTAPOZ
| 43
44 |
JANUARY 2015
JUXTAPOZ.COM / SCOPE
left
Swoon for Chandran Gallery/Scope
Miami Beach 2014
right
Hilary White for Paradigm Gallery/
Scope Miami Beach 2014
JACK BECKETT
IS THE FOUNDER
OF THE OUTSIDE
COLLECTIVE
50 |
JANUARY 2015
| 51
JANUARY 2015
When did you start working in the streets? Was your work
inuenced by the early punk zine and yer days, or were
you just trying other forms of intervention and straight-up
experimentation?
My rst street works were in the late 1970s. Band posters
were denitely dominating the streetscape, and since I
was in bands, I did my share of wheat pasting. But my big
inuence, beside the graffitied trains, punk rock and a
few grown-up artists like Gordon Matta-Clark and Charles
Simonds, were the Situationists. At some point Id copied
into my sketchbook excerpts from the 1960s book, The
Society of Spectacle, by Guy DeBord. What I took from it
all (and still do) was that artists should provoke moments
that shock the spectator out of their passivity, helping them
towards a more creative and awakened life.
What did your paintings look like at this time?
After a year or so of hummingbirds and all the attention that
got me, I realized I had to either move on to new subjects
or become the hummingbird guy. With my mistrust of
above
Byronesque
Oil and digital media on canvas
40" x 58"
2014
opposite
Mosh Pit Study (Anarchy)
Oil and digital media on canvas
15" x 20"
2014
following spread
ABC No Rio
Oil and digital media on canvas
96" x 56"
2011
| 53
You have seen the trends of the art world uctuate over
the years. Have you seen anything like street art and the
way it completely became this populist movement?
Yeah, Ive been famously wrong about this. Back in about
2004, I was on a street art panel with Marc and Sara
Schiller of the Wooster Collective. We were discussing
the possibilities of this exciting new art movement and I,
as the elder statesman, felt it my duty to bloviate a bit and
remind everyone of that old saying, What is in fashion
must inevitably go out of fashion. So, yeah, I was wrong.
I didnt understand how seismically the paradigm was
shifting. And in my defense, who could have foreseen this?
Its unprecedented. Up until then, the trend cycle of art
movements had always ran a rough corollary to those in
music or fashion or hairstyles. Then came digital technology
and the Internet, and everything changed. All of a sudden,
the quality of your work mattered more than who you knew
or what you looked like. This rst bona de art movement
thats been independent of high cultures mediation has
JANUARY 2015
left
Brite Night 1 (detail)
Oil and digital media on canvas
68" x 48"
2014
right
Agnostic Front Circle Pit
Oil and digital media on canvas
82" x 48"
2014
| 57
Brite Night 2
Oil and digital
media on canvas
72" x 48"
2014
58 |
JANUARY 2015
| 59
LEE CHEN-DAO
60 |
JANUARY 2015
| 61
JANUARY 2015
above
Cat Fight-Love Kick
Oil on canvas
55" x 41.25"
2013
opposite
Valentine II
Oil on canvas
23.5" x 35.75"
2013
following spread
Swan Lake
Oil on canvas
92.5" x 68.75"
2014
| 63
all carry a hint of happiness, yet are you able to feel and
experience this expression? Whether its through a
smile, maybe a sense of reluctance, or a even a little bit
of sadness?
You have said that you are trying to describe emotions or
relationships, which are ambiguous, embarrassing or even
helpless. Are these emotions that you nd in your own life,
people around you, society? Does your personal history
shape the content, and is there any part of your paintings
that is self reective?
I like to interact with people from all walks of life, because
everyone has their own unique story, and I can have a
chance to be part of that story. Any particular event or story
has many reasons behind it, and learning about them has
sometimes been a very moving experience, whether with
anger or sadness. I believe that some of these interactions
were vital for me to experience, and perhaps later become
66 |
JANUARY 2015
left
Sabrina & Lydia
Oil and gold foil on canvas
58.25" x 33.5"
2014
right
Tender+M203
Oil and gold foil on canvas
32.25" x 23.58"
2014
| 67
Enjoyed Couple
Oil on canvas
45.5" x 35.75"
2009
68 |
JANUARY 2015
| 69
K A Z U
JANUARY 2015
JANUARY 2015
| 75
JANUARY 2015
JUXTAPOZ.COM / KAZU
SUZANNAH
SINCLAIR
The dawn of a new phase:
no more naked ladies
INTERVIEW BY KRISTIN FARR PORTRAIT BY JENNIFER DUMONT
80 |
JANUARY 2015
previous spread
Field Study
Watercolor and pencil
on birch panel
24" x 24"
2011
left
Lack of Conclusion
Watercolor and pencil
on birch panel
28" x 24"
2010
The new work still has the same vibe. How would you
describe the common feeling in your paintings?
Im glad it has the same vibe. Im trying to visually converse
about the same things, but tweak them to be clearer and
more purposeful. I started to feel that people werent
getting it and that was my fault. If they dont get it, I am not
speaking clearly. I want to be less obtuse and vague. As for
the common vibe, thats me! I see through my own set of
rosy-colored glasses. I paint from that view. The soft focus,
ethereal colors... its all very easy going.
| 81
JANUARY 2015
above
Karla by the Fireplace
Egg tempera on gessoed harboard
9" x 12"
2014
right
The Odds
Watercolor and pencil
on birch panel
36" x 24"
2009
84 |
JANUARY 2015
| 85
JANUARY 2015
previous spread
Nowhere, Somewhere
Watercolor and pencil on paper
34" x 47"
2010
above
Installation view
Nature Nudes and Interiors, Sams
Boston, MA
2014
right
Linne on Wire Bench
Egg tempera on gessoed hardboard
9" x 12"
2014
| 87
RACHELL SUMPTER
& JACOB MAGRAW
Escaping to the beautiful landscape of Puget Sound,
the collaborative efforts of Sumpter and Magraw have
turned nature into technicolor explosions
INTERVIEW BY GABE SCOTT PORTRAIT BY ALLISON WEBBER
90 |
JANUARY 2015
with her reading. Bath, stories, bed. Check the re. Make
paintings, stitching, drawings. Use a headlamp.
opposite
Fruit (detail)
Gouache and pastel on paper
7" x 10"
above
People Who Matter
Gouache on Paper
20" x 12"
2010
| 91
JANUARY 2015
above
Rachell Sumpter
Brothers in Sport
Gouache and pastel on paper
14" x 11"
2011
opposite
Jacob Magraw
Signal
Embroidery thread on cloth
9" x 13"
2014
JM: Yeah, the process of doing the drawing rst, then doing
the coloring is very much like having a pattern. I think the
drawing does function that way. The pencil drawing is your
pattern, then there's another way of thinking with color
where you ll that in.
Do you bounce back and forth between the two mediums?
Is there a conscious comparison or evaluation of the
stitching versus painting?
JM: I do, but more of the straight stitching pieces because
I haven't really mastered them yet. It's a little more exciting
at the moment, but not as visceral, as it moves slowly. The
process can sometimes be a little less exciting, but the
nished product, and having a couple pieces together, has
| 93
JANUARY 2015
above
Habituation
Gouache and pastel on paper
7" x 10"
opposite
Rachell Sumpter
Everything is Golden
Gouache and pastel on paper
11" x 14"
2014
| 95
BILL SAYLOR
98 |
JANUARY 2015
left to right
Untitled
Mixed-media on paper
24" x 36"
2013
Lupo
Oil, collage on canvas
2011
Untitled
Mixed-media on paper
24" x 36"
2014
smashed out. If they are and you catch it early, you can have
them replaced by the afternoon. Ive done six so far. Maybe
go to the gym, return some emails, turn on the radio and
start kicking around in the studio. Maybe read a bit, start out
with some drawings or just get into some paintings. Make
some dinner later; watch some TV or movies online.
What was growing up in Pennsylvania like for you?
I grew up about thirty minutes north of the city center of
Philadelphia, in a suburban town named Willow Grove. My
grandfather owned the last old dairy farm in town, about 26
acres that was used for a big construction company he built.
Our house was also on the property and at night, when it
closed, I had it all to play on: riding motorcycles around,
skating on the farm lake, playing ice hockey. Willow Grove
had a famous amusement park that was started in 1896, but
by the 70s, it was old and run down. We would sneak in
under the fence and run around in this crazy old-world park,
where every hour women came running out of a saloon and
gunghters would have shoot-outs in the Western town
area. It had a giant wooden roller coaster that ran through
a paper mache copy of the Swiss Alps. There were fun
houses, freak shows and mirrored rooms to get lost in. But
mostly I spent a lot of time in the woods.
Do you recall the rst time you drew something or made
something that you would consider art?
Maybe I was around ve. I used to lie on the oor and
make drawings of my favorite comics. I thought they were
pretty good.
What was the attraction at age 19 when you moved out
West? I attended Santa Barbara City College too.
My older brother was going to photography school in
Santa Barbara and I went out for a weeks visit when I
was fourteen. Coming from the landlocked Northeast, the
California Ocean seemed like a paradise. After high school
in Pennsylvania, I worked the summer and moved out
there thinking Id stay a few months and help my brother
drive back East, but I ended up staying about eight years
between Santa Barbara and Long Beach, going to school,
surng, skateboarding, and scuba divingnot a bad life for
a while.
Youve been showing your work since the early 90s. What
was your very rst show like?
It was in 91 with Kenny Schacter down in SoHo: The
Unlearning Show. Rachel Harrison was archiving her
tampons and Jonathan Horowitz had a video with the song
"Je T'aime playing on loop for two months. Someone was
fermenting vodka on the counter at the entrance, and Dan
Asher had a feedback loop created by two talking parrot
toys. I showed two sculptures, one a row of salt licks, the
other a meat hook tree made from steel hooks that were
left in my studio in the Meat Market. It was about ten feet
tall and I was nervous that someone would tug on it and it
would come crashing down.
You worked on a collaborative project with Harmony
Korine that was published as a zine. How did you meet him
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JANUARY 2015
left to right
Blow Back
Oil, charcoal and spray
paint on canvas
64" x 84"
2013
Untitled
Mixed-media on paper
25" x 38"
2014
Untitled
Oil, charcoal, and
pencil on paper
25" x 36"
2014
you did in Las Vegas. Can you share some anecdotes from
that trip?
In 2002 my dealer, Leo Koenig, was asked to install a show
in a 20,000-foot unused part of a shopping mall called
Neonopolis at the head of Fremont street. He came over
to my studio and saw a 4 x 5 loose black-and-white Hells
Angels California painting I made. He loved it and wanted
it to go in the show. I knew it could be a problem but didn't
let on and let him take it anyway. I guess it was just one
of those taboos that made the painting feel dangerous,
however silly that was at the time. We unloaded the show
into the space while construction was still nishing up, so a
lot of local guys got to see the works. I had about thirty feet
of wall with all kinds of paintings and drawings, and I guess
the word got out to the local chapter about the one painting.
After the show opened, we left, went back to NY, and then
a few days later, three dudes came into the Vegas show
from the Hells Angels. They scared the shit out of the young
girl sitting at the reception desk, demanding it be removed.
BILL SAYLOR JUXTAPOZ
| 101
They were pretty pissed about it, though they did like a
drawing I made of Sonny Barger. They decided that could
stay but they wanted the painting out. The president of the
New York chapter called my gallery and really intimidated
Leo by saying he wasn't able to control the Vegas chapter
and anything could happen if we didn't get it out. They also
said they knew who I was and where I lived which got kinda
weird. Leo offered to sell it and give the money to a charity
of theirs but they weren't interested. It was taken out. I did
make a few more after that but changed the text to famous
hurricanes and some that said Jet Stream Loser.
You have piles of drawings at your studio. Do you nd
satisfaction in the immediacy of drawing on 11x14 paper as
opposed to working on a large canvas?
Ive always made lots of drawings of all sizes. I leave them
on the oor, pin them on the wall or pile them in boxes and
reference them later. I like their immediacy but its just part
of the process for me, a way to come up with new forms and
images that can be bumped up. I also really like the more
sustained focus you need for large paintings, making them
so that they appear to have been dropped there with the
same intimacy as a small drawing. Thats the real trick.
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JANUARY 2015
left
Installation view of
Audio Tuna Sunshine
Courtesy of Leo Koenig Inc.
2011
right
Muddy Waters
Collage, oil,spray paint
on canvas
76" x 99"
2010-2014
| 103
T R AV E L I N S I D E R
KANSAS CITY
Dispel your notions of Kansas City, and see it through the
eyes of photographer and performance artist Jaimie Warren
KANSAS CITY HAS BUILT A REPUTATION, WITH THE
help of the Kansas City Art Institute, for churning out great
artists who consistently contribute to the fabric of its small
but strong contemporary art community. Young artists are
joining forces with local establishments that are giving
generous grants, curatorial and exhibition opportunities,
and free studio and exhibition space, such as the Charlotte
Street Foundation, the Rocket Grants program through
the Warhol Foundation, and the H&R Block Artspace at
KCAI. The city clearly wants artists to succeed in order for
it to grow into a vital art center and hub, which is a
wonderful way to work, especially if your practice has
collaborative components.
Opportunities for artists in KC are often in sophisticated
art venues like Bill Brady Gallery, a recent transplant from
NYC, and Haw Contemporary. Both take advantage of the
affordable real estate in the West Bottoms, a neighborhood
consisting of mostly vacant warehouses which used to
house the now defunct Kansas City Livestock Exchange
and Stockyards.
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JANUARY 2015
Day 2
Head to breakfast at Happy Gillis in Columbus Park
because its cute and delicious, then drive about two hours
(I know its a stretch, but its worth it!) south to the Precious
Moments Chapel where they have remade Michelangelos
Sistine Chapel out of Precious Moments gures. Its simply
| 105
too weird to miss if youre out here. Then drive back for a
late lunch at Arthur Bryants or Gates BBQ. You will hear a
million arguments over a dozen BBQ restaurants in Kansas
City as BBQ pride is big here, but these two are the best! I
swear! Gates is a more memorable experience and has the
original 70s interior, so go there.
Next, some local shopping on West 18th Street. Designer
Peggy Noland, who straddles Los Angeles and Kansas City,
creates a new installation there every few months. The
stores on this strip are locally owned, and YJs snack bar,
a local artist hangout, is at the tail end (Mondays Mayan
tostadas are fantastic). Nearby is an art installation that has
luckily stayedmultiple hammocks amidst green pastures
overlooking the grandiose Kauffman Center for Performing
Arts. Its a great place to let that BBQ digest, especially
since we are on our way to the next restaurant!
Scope out those few West Bottoms galleries I mentioned,
then have drinks, snacks, or a giant steak at the historic
Golden Ox restauranta carpeted, cowboy-themed
restaurant and bar full of period saloon dcor. Its all about
the atmosphere and the history of the stockyards, which
is fascinating.
Day 3
For the last day, there are three choices, depending on the
time of year. In summer, spend the day at Worlds of Fun/
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JANUARY 2015
Thank you to the great people of the Kansas City Art Institute for
their help.
IN SESSION
WE TELL STORIES
School of Visual Arts brings back alumni
for massive illustration celebration
KNOWN AS A BOUNTIFUL BREEDING GROUND OF
illustration, the School of Visual Arts in NYC has been at
the forefront of connecting the illustrative arts to ne art
appreciation. One of our favorite degree programs at SVA
is Illustration as Visual Essay, attended by many artists
who have graced the pages of Juxtapoz, including Nathan
Fox, Martin Wittfooth, Sam Weber, Yuko Shimizu and
Aya Kakeda.
On display through December 17, 2014, the SVA Chelsea
Gallery hosted We Tell Stories, an exhibition of work by
more than 340 artists who graduated with an MFA in
Illustration as Visual Essay in the 30 years since the degree
was rst offered. Curated by founding chair Marshall
Arisman, the show brought together an alumni that has
produced everything from editorial art, childrens books,
comics, graphic novels, animations, products and ne art.
Juxtapoz has championed illustration as a prominent ne art
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JANUARY 2015
form and We Tell Stories shows how the SVA has nurtured
the spirit in multiple generations of artists.
Underscoring the success and ubiquity of the SVA
Illustration program, Arisman noted, If, in the past 30
years, you bought a book because of its cover, thumbed
through the illustrations in a magazine or newspaper, read
a childrens book to your child, thought a graphic novel or
comic would make a great movie, purchased an app for
your iPhone or visited a gallery, you have seen the art of
our alumni.
JUXTAPOZ.COM / EDUCATION
&$66-$&.(7
REVIEWS
BOOKS
The titles Juxtapoz is currently reading
BRETT AMORY: THE COMPLETE WORKS AND SELECTED ESSAYS
BY BRETT AMORY
Sittin in the morning sun, Ill be sittin when the evening comes. Sittin here resting my bones, and this
loneliness wont leave me alone. Like Otis Redding, Brett Amory left the South and came out West, nding
himself pondering, among other things, the big city and its expanse of solitude. Brett Amory: The Complete
Works and Selected Essays, published by Vivant Books, presents, among other works, soul-grabbing
studies from his Waiting series, depicting the unique shades of San Francisco, New York City and London,
while reecting on the urban experience of ticking time and endless hours where daytime challenges and
taunts, and nighttime harbors and haunts. Like a masterful collection of short stories, each piece awakens an
emotion. The captivating paintings invite observation, illuminated by thoughtful essays, which just might invite
the reader to stay awhile as the entire portfolio lends a fuller knowledge of life as we learn it. Gwynn Vitello
Vivant Books, vivantbooks.com
EPITOME
BY NICK CAVE
Out of a riot comes a dream. After the collective pain of the LA Riots of 92 sparked by the Rodney King trial,
Nick Cave felt depressed: I remember thinking that my identity is really only protected in the privacy of my
own home. That the moment that I leave this space, I could be just another prole. Then I was thinking about
myself as a black male, and that on top of art, on what Im trying to be as an artist It was really hard... At that
moment he caught sight of the glitter of litter on the street, and from that trash came the inspiration to grow an
armor in which to hide. So began his Soundsuits. Cave is not alone in seeking artistic remedy for community
trauma but his art is like none other. Caves new and most comprehensive survey, Epitome, explores the
brilliant materials that the artist uses for his mixed-media performance and installation work. Exciting and
colorful, this monograph is a must for any modern art lover. Lal Shafaghi
Prestel Publishing, prestel.com
ED EMBERLEY
BY TODD OLDHAM AND CALEB NEELON
Ed Emberleys drawings inuenced a generation of artists who grew up to be the inuencers of today. Since
the 60s, his popular how-to-draw books molded millions of young artistic minds, and if you ever made a
thumbprint drawing, Emberley is the man to thank. For a hefty new monograph of his work, Caleb Neelon and
Todd Oldham explored Emberleys life and his Massachusetts studio, which holds everything the artist has
ever made, every drawing that went into his 100+ books for children. In his fun and thorough introduction,
Neelon talks to a collection of artists whose impressionable young minds felt a big Emberley imprint, including
Mel Kadel, Josh Keyes and Souther Salazar, and the intergenerational dialogue becomes loud and clear. Like
all the best childrens books, Ed Emberley does not skimp on the pictures, and the incredible range of style,
subjects and technique is showcased beautifully. Emberleys inuence is unstoppable, and luckily, this book
will be around for future generations. Its a book that had to be made. Kristin Farr
Ammo Books, ammobooks.com
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JANUARY 2015
JUXTAPOZ.COM / SUBSCRIBE
PROFILE
FRAME ON FRAME
The hand-drawn animations of Jake Fried
IN 2011, JAKE FRIED CREATED NIGHTFALL, THE FIRST
of his-ten-and counting animations. Headache, Last Meal,
Waiting Room, Sick Leave, The Deep End, Raw Data, Down
Into Nothing, Headspace and Brain Lapse would follow.
Hand drawing ten or twenty frames a day, Fried scans each
as he moves along. For many animators, this would mean
thousands of stills and in-betweens lying around,
but not for Jake. He makes his dark, primarily black-andwhite designs directly on the image as he proceeds,
obliterating the drawing below with layers of Wite-Out,
gouache, ink and coffee. Yet for so much work in the past
two years, the resulting physical product is eight thick
and crusty pieces of drawing paper. They look like the
accumulated mess of a painter's mixing palette layered
and dried to half an inch thick.
Fried keeps these relics, but they aren't the end product.
I've never been interested in creating traditional animations
using individual cells, he says. Rather, I approach my
work as moving paintings where one image morphs and
evolves, each frame building on top of the last. The stills
visible here, for instance, are now as buried under layers
of art media as a long-since-covered piece at a popular
graffiti spot. Each of Frieds animations has since racked
up hundreds of thousands of online views from around the
world. As a painter, he didnt know what to expect.
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JANUARY 2015
JUXTAPOZ.COM / JAKE-FRIED
PROFILE JUXTAPOZ
| 115
PROFILE
Headspace (2014)
116 |
JANUARY 2015
GIFT GUIDE
LIQUITEX COLLECTION
Spray paint, brushes, paints,
and acrylics
liquitex.com
WAT-AAH LIMITED
EDITION BOTTLE SERIES
Created for WAT-AAH!s
Taking Back the Streets
initiative, the collectors
box can be purchased
online at wat-aahstreets.
com and select bottles are
also availabe supermarkets
nationwide. Get your bottles
by Kenny Scharf, HAZE,
Lady Aiko, Posh Dog,
Technodrome1, Concep,
Vesa, and SMURFOUDIRTY.
wat-aahstreets.com
THE MIRANDA
BY MIRANDA JULY
Made in collaboration with
Welcome Companions, each
pops with colorful punch.
welcomecompanions.com
openingceremony.us
EXCEL BLADES
Every artist is in need of
a good knife set, blade,
hammer, cutting mat, or
scissor. Our office has been
using the Excel Grip-On
Knife and Light Duty Knife
all season long, and they
are durable we have used.
American made!
excelblades.com
118 |
JANUARY 2015
WOODROCK
BY VICTORIA WAGNER
One-of-a-kind painted
wood sculptures
hmxaa.com
| 119
SIEBEN ON LIFE
MAKE A ZINE
Snail mail is the best mail
RECENTLY, I MADE A NEW ZINE WITH MY BUDDY SHAUN
Mefford. I used to make tons of zines when I was younger
and I immediately remembered what I liked about it: it's a
quick and extremely affordable way to disseminate an idea,
aesthetic, opinion or whatever the hell you want. The beauty
is that there are no rules, so you're free to do anything you
like with your money and time. You get to call all the shots,
a rare opportunity in adult life. It's also a really easy way to
promote your work.
I get emails from younger artists requesting advice on
how to get their work out there. My suggestion is always,
"Make zines and send them to companies/people you're
interested in working for/with. I honestly owe the bulk of
my commercial success to zine making. In my mid-twenties
to my early thirties, I was constantly working on zines that
showcased my illustrations and writing. I'd send them to
skate companies, publishers, galleriesanyplace where
I thought I might get work. This practice led to freelance
writing for Big Brother magazine (RIP) and later secured
a staff position with Thrasher magazine. The nod from
Thrasher opened tons of doors, and all of that can be
directly traced back to zine making. I still trip out on that.
Enough about what I did. How does this relate to you? Well,
nowadays everybody has access to the same technology.
Everybody is trying to get more Instagram/Twitter/Facebook
followers; everybody has a website; everybody is sharing
everything with everybody. But when is the last time you
found something really awesome and handcrafted in your
mailbox? I imagine most art directors and gallery owners
are in the same boat, inevitably bombarded constantly with
emails and other unsolicited social-media nagging. A clever
zine with a handwritten note sent via USPS is way harder to
immediately trash as opposed to hitting the delete key on
a computer.
I'd like to conclude by stating that I'm not trying to make a
case that zine making should only be used for commercial
purposes. You can make a zine for you and your best friend
and never show it to anybody else in the world. Like I said
earlier, no rules. Well, actually, one rule: staple that shit
together. You're not making a newspaper for crap's sake.
Michael Sieben
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JANUARY 2015
/EzKhZ&Zd
z:
Hunter S. Thompson
Oil and Acrylic on Panel
S/N prints available
ttt:Zh>KD
POP LIFE
SUBLIMINAL PROJECTS
KNOWN GALLERY
122 |
JANUARY 2015
Photography by
Sam Graham (1-5)
Drew Altizer (6)
PUBLIC VIEW
6th/7th December
POP LIFE
RUTTKOWSKI 68 GALLERY
3 | Andrew Schoultz changes up his game
in Cologne
124 |
JANUARY 2015
Photography by
Joe Russo (1, 2, 6)
Sam Graham (4, 5)
PERSPECTIVE
126 |
JANUARY 2015
For more information about Jony Ive and the Bay Area
Treasure Award, visit sfmoma.org
JUXTAPOZ.COM / DESIGN
Los Angeles, CA
October 25th 2014
MARCO ZAMORA