experimental - juxtapoz magazine

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magazine issue/19

JUXTAPOZ JUXT APOZ

Art -Culture

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maxwell mcmaster emily mae smith

Master Your Craft Firestone Walker

46-49

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Aya Takanov, First amendment gallery, Odysseus Wolken, James Stanford

24-29

Hashimoto Gallery Supercheif Gallery

15-17

antony micallef

yoshitomo nara steve nazar

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18-23 36-41 Jessica Hess, Vaughn Spann, Lucy Sparrow

miranda barnes mary quant

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Julie Curtiss, Jazoo Yang

Obey Giant

30-31

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Neo Rauch, Javier Calleja

ruth asawa sebas velasco grace weawer

60-64 todd schorr kristin farr cheyenne julien

MFA-IAD), NAAB (B.ARCH, M.ARCH), CTC (California Teacher Credential). occupations and other information.

Accredited member WSCUC, NASAD, CIDA (BFA-IAD,Visit academyart.edu to learn more about total costs, median student loan debt, potentialLearn how at academyart.edu/ juxMake better art.Master Your Craft | 888.492.2692Academy of Art University | San Francisco, 1929 Study on campus or online. Scholarships available. 30 programs, including illustration, photography, Aspiring artists and designers can choose from

Featured student work by Marisa Ware, MFA, School of Illustration

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https://www.google.com/ 4

Energy We minimize energy use throughout each step of our operation, be it electricity, natural gas or fuel. In the brewhouse, all of our tanks are insulated and all motors are demand-controlled.

We utilize kettle steam recovery systems that save energy as well as water, and we also recover energy by capturing heat during the wort cooling process. LED lighting located throughout the campus increases energy efficiency by 75 percent. Additionally, our new warehouse is energy efficient thanks to its highly reflective roof; leading-edge insulation; electric forklifts; and efforts to ship by rail when possible.

Water As Californians, we understand how vital water is to the landscape and to our community.

For this reason, our brewhouse employs techniques to ensure that this resource is used sparingly throughout each stage of the brewing process. Recycling weak wort allows us to save two to three thousand gallons of water per turn. Recovering condensate from steam enables us to apply that energy toward heating other kettles. Additionally, “clean- inplace� programs and water recirculating in filtration further reduce our level of water consumption. As our skilled brewers strive to optimize each

Founded in 1996 by brothers-in-law Adam Firestone and David Walker, Firestone Walker Brewing Company is a pioneering regional craft brewery located on the coast of California. Our state-of-the-art brewery in Paso Robles produces a diverse portfolio ranging from iconic pale ales to vintage barrel-aged beers. Our Barrelworks facility in Buellton makes eccentric wild ales, while the Propagator pilot brewhouse in Venice specializes in R&D beers. In 2015, we combined with another family-owned brewery, Duvel Moortgat, to help pave the way for our next 20 years and beyond. With deep roots in the Central Coast,

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WASTEWATER TREATMENT FACILITY In 2015 we installed a water treatment facility on campus in order to process our effluent water, thus benefiting our local utilities and community.

We work to recover small amounts of wastewater, about 10,000 gallons per week. The remainder is processed, separating out the fine organic material and leaving the water acceptable for delivery back into the city’s waste water infrastructure. This facility also provides up to 65 KW of energy through anaerobic digestion.

Recycling

Not wanting anything to go to waste, we divert as much from the landfill as possible through the recycling, reusing and repurposing of excess material and equipment.

carhartt-wip.com @carharttwip

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Painter, illustrator, sci-fi writer and attain a certain form of transcendence. manga artist, Aya Takano belongs to Kaikai Kiki, the artistic production studio created in 2001 by Aya Takano’s inner journeys wind their way into delicate works that Takashi Murakami. Inspired by all convey a disturbing impression, art forms, from erotic stamps of the Edo Period to impressionism, from somewhere between eroticism and impertinence. In a bedroom or Osamu Tezuka to Gustav Klimt, the artist has built a universe all her in the metro, in front of the skyscrapers of a megalopolis or on own. A universe made of infinite worlds, all means of escaping the moon, naïve and androgynous reality, gravity and its restraints, to girls are sketched out in thin, sharp 8

AYA TAKANOV

lines. The artist’s mythology has constructed itself little by little, through her creations and visions of the unknown. In March 2011, a violent tsunami struck the northeastern coasts of Japan and led to the nuclear accident of Fukushima. A real wakeup call for the artist, this catastrophe deeply influenced her work. Preferring oil paint, which is more natural, to acrylic paint, for example, Aya Takano seems to pursue a new artistic quest, both humble and spiritual, influenced by a unique interest in science and guided by an absolute respect for nature and human life.

Hashimoto Contemporary is pleased to present Pith, a solo exhibition featuring new painting and sculptural work by emerging artist Kate Klingbeil.

AMERİCAN 1990

Kate Klingbeil

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at once point to and attempt to reclaim the cultural lens through which the female body is experienced.

Kate Klin gbeil

Based in Brooklyn, New York, Klingbeil’s debut exhibition with the gallery explores themes of sexuality, resilience, the shadow self, heartbreak and healing.

The unique, meticulously crafted relief paintings of Pith create a dreamscape in which a female protagonist explores her body both as figure and ground. The works

Klingbeil’s thick, sumptuous works of layered acrylic paint offer a uniquely vulnerable yet spirited vantage point into the artist’s experience with Hashimoto’s Disease. Dotted with butterflies and pill bottles, Pith’s unfiltered, holistic glimpse into life with an autoimmune disease does away with depictions of sick women as one-sided, leading lives largely dominated by their illness.

Juxtapoz Projects, Mana temporar Cony, Jersey Cit

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Odysseus Wolken

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JAMES STANFORD

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James Stanford

enough life drawing at art school to draw figures draw. My brother did that, as well, but he had done set of symbols that most children have when they drawing what was in front of me from the stored 16, I knew I wanted to be an artist, and I drew all when I was a small child. From the time I was a cartoonist, and that certainly impressed me : My older brother was a terrific artist, Jim Stanfordproscribed boundaries?harmony, but wants to go about it outside of you as someone who is compelled to seek Gwynned Vitelloof town. wandered through a mesquite grove in the middle Museum, Yayoi Kusama’s Inifinity Room and their stomping grounds where I toured the Neon I visited him and wife Lynn (a Mighty Muse!) in at 2018’s Asian Art in London. Shimmering Zenin creating the coruscating mandalas that tthrough and m agazines. that aw ing Smallworks whatw asin front ofm ewhen from the stor ed Lasar Jam esStanford’sdad packed up theof hous ehold Jamesdr culminated Lights, helms Press not and Vegas.

Anbooks ambassador for Dur thisingwestern City on tim e,m any ofthe m ajorm agazineshad artistson se t of sym bol s t hat m ost chi l dr en have w hen t hey in the 1940s,and drove f r om Texas t o Las Vegas t o the high plains, had broader ideas for himself who looks like he’d be comfortable guiding a horse shoulder pads, but the covers,and thatreally stim ulated m e. draw.M y brotherdid that,asw ell,buthe had done coach high schoolfootball.The oldersonsdonned the youngest, a strapping figure coach high school football. The older sons donned in the 1940s, and drove from Texas enough life draw ing atartschoolto draw figures shoulderpads,butthe youngest,a strapping figure Lase gui Vegas James Stanford’s dad packed up the household Light Life in Lasn tVegas So I’mand surpr ised t o lear hatyouJames firstm ajStanford ored w ho lookslike he’d be com fto ortabl ding ato hor se

Light and Life Vegas in Las

on the high plains,had broaderideasforhimself and LasVegas.An am bassadorforthisw estern City

W here you atthatstage at16?

in Englis h.

Iloved w riting. loved I poetry,shortstories

photography,people who w ere really good.And at

The encounter provoked in Stanford an episode of shock, even ecstasy, of the kind known as Stendhal Syndrome – when exposure to a particular artwork of great personal significance produces an intense psychosomatic reaction.

becam e,and is,m y bestfriend and support.

‘I fainted in front of this painting. I was unconscious for 15 minutes.

I woke up with a flash grasp of many of the painting techniques that he used. This started my devotion to painting.

JAMES STANFORD

REPORT

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Superchief Gallery is an independent artist-run gallery with permanent large scale warehouse locations in New York City & Downtown LA, founded in 2012

by Edward Zipco & Bill Dunleavy in Brooklyn, NY

Superchief Gallery

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18 San Francisco-based artist Jessica Hess is a hyperrealistic landscape painter.

Her depictions of the urban environment both celebrate and validate the art of graffiti through a fine art lens of oil paintings on canvas and gouache on paper.

A graduate of RISD (Rhode Island School of Design), Hess is a recipient of the Trent Burleson Painting Prize, the Faber Birren National Color Award and the Stamford Art Association Award for Excellence.

Hess has been exhibiting nationally since 2002 and has shown at Subliminal Projects (LA), Thinkspace (LA), Yves Laroche (Montreal), Ferrin Gallery (MA) and Geoffrey Young Gallery (MA).

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20 It was something I had to grapple with and do the work for. It’s not gonna easily give it to you. I find it a very energized place to be in as a maker. A place that is really liberating, it gives me access to think about my agency as an artist, about conceptual ideas, different avenues of making which I find so, so important.

lining up, logging in one after the other. The number of notable group shows includes exhibitions at Almine Rech Gallery in London, the August Wilson Center in Pittsburgh and Night Gallery in L.A., as well as his sold-out solo show with Half Gallery in NYC. The Florida-born artist was recently in Miami to see his work, curated by artist Nathaniel Mary Quinn, included with Half Gallery’s exhibit at NADA, David Castillo’s booth at Art Basel, as well a Rubell Family Collection exhibition of newly acquired work. To put this into context, this is just the beginning.

Va u g h n Spann

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The Rising Star: Vaughn Spann

How does something like that reflect on your actual work practice?

How do you feel about Give me an example of you tying up those things accidents in your process?

So, I grew up in my grandparent’s Accidents are actually rehome. My parents were around, ally important. For exambut they were out working a lot. ple, my abstraction works They had very, what you would call, stereotypical social norms. One of the are all sewn, and I like to work on a big scale, ’cause materials that come in my paintings I’m a tall guy and I like to is terry cloth. On Sundays, in my grandparent’s home, my grandmother work in that way. So when and I would fold towels. It was a way you scale up painting and try to sew it on a sewing of learning responsibility, but also machine, it’s a mess! You to bond with family. When it comes just have to be aware that to painting, everything needs to you will make mistakes be tactile, so I have a very physical approach, amd when I do make figu- and these accidents could rative work, I have the desire to speak be prone to the work, and within these beautiful traditions that I you have to embrace them as the part of the work in saw and still admire. a very beautiful way. So I’m interested in allow-

ing the work to become itself. While I have ideas of where to move with my work, I also want to be open and take whatever comes, and accidents can be one of the most fruitful places.

22 Lucy Sparrow (born July 1986) [1] is a contemporary artist originating from Bath, England.

She works at the intersection of contemporary art and craft setting the agenda for textiles within the urban art scene. She works mainly with felt and wool, creating oversized soft versions of existing objects.[2] Her work often features the SSRI prescription drug Prozac.[3] Sparrow has been involved in a number of notable group shows in the UK. She was a contributor to the Victoria and Albert Museum 2013 travelling street art collection alongside Banksy, Blek le Rat, Jamie Hewlett, Pure Evil, D*Face and urban illustrator Oh Jiwon.[4] Her first solo show at Hoxton Gallery was Imitation, which recreated famous artworks out of felt, including a shark in a tank by Damien Hirst.

Lucy Sparrow 23

In 2014, Sparrow created a Kickstarter campaign to fund her first major exhibition.[6] The Cornershop was a soft sculpture recreation of a British newsagent’s installed in a derelict cornershop in East London.

According to news sources, it took Sparrow and her assistant seven months and 300 sq metres of felt to create the 31,000 items on display.

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The Millennial Art Star Julie Curtiss’s Paintings Now Sell for Half a Million Dollars. It’s Kind of Freaking Her Out On a Wednesday in the middle of May, the artist Julie Curtiss was at her studio in a converted Bushwick warehouse live-streaming the afternoon contemporary art sale at Phillips. Slated at lot 16 was a one-by-onefoot painting that Curtiss had made about three years earlier, estimated to sell for between $6,000 and $8,000. Princess (2016) is typical of her output: a painting of a woman’s head, seen from behind, her hairdo done up in side cinnamon buns.

It was the first Curtiss picture to be auctioned anywhere, and the young

artist watched the stream with some trepidation.

When the bidding on her worked opened, paddle-wielders in the room and buyers on their phones quickly pushed the price past the high estimate, higher and higher, until it hammered at an astounding $85,000 ($106,250 with fees)—a 7,770 percent increase over the $1,350 paid by the collector who first bought it from an artist-run project space just two years ago.

In the span of minutes, Julie Curtiss became an art star, and she was giddy and also a bit horrified.

“I was thinking, it’s scary, and I’m not making a buck on this,” she told me in her studio earlier this month.

She was sitting on a stool, dressed in painting clothes and a coat. She chose her words carefully but they came out fast, tinted by a French accent chipped barely away by a decade in New York. A playlist was streaming on

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“I’m a Bit Worried” Such immediate validation from the art market means that an artist is doing something right. Most never get close. There are people who want a Julie Curtiss, even if they just want to sell one to someone else who wants a Julie Curtiss. Some say she’s the prototypical young artist blowing up in a vicious art market.

Curtiss’s naysayers—and she has a few—predict that the auction result was a flash in the pan, and that the feverish speculation will die down before the next cycle.

Julie Curtiss was born in France in 1982, and is of French and Vietnamese descent.

After growing up in Paris, she studied at the École nationale supérieure des BeauxArts, and then at the Hochschule für Bildende Künste in Dresden. She then made her way to the School of the Art Institute of Chicago, where she first encountered Imagists such as Jim Nutt, Ray Yoshida, and Roger Brown. But it’s Christina Ramberg, more than anyone else, whose aesthetic most resembles Curtiss’s—a comparison she acknowledges, though she said she developed her own style before ever coming into contact with the elder artist’s work.

“I was doing works that were so similar to Ray Yoshida and Christina Ramberg, and when I saw her work I was so shocked,” she said. “For artists, it’s hard because sometimes you do something on your own and you see someone who’s doing it 10 times better than you, and their work is always there. So I was like, what’s the fucking point?”

While studying in Chicago, Curtiss met her husband, the artist Clinton King. After graduating, they went to Japan for a year, where she came under the influence of comics and Manga, which led her to a more graphic style. The couple later moved to New York, and for a fraught year, Curtiss worked as a studio hand for Jeff Koons. “It wasn’t exactly conducive for an art career,” she said. She quit after she turned 30.

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When you think about the notion of time, the present and the past, about artists, streets and walls, one way or another you will find yourself staring at the image of the Berlin Wall – a wall which was always a symbol of the utterly physical line between the present and the past; between the world with a future and the one which was destined to be inevitably lost.

In 1989, when the wall fell, on the other side of the continent the family of the 10-year-old Jazoo Yang moved to the new small apartment in the middle of a large-scale redevelopment area.

The urban landscape of South Korea was rapidly changing at that time, so there was always some construction work near Jazoo’s home. It’s not hard to imagine how she used to spend the time with her younger brother by exploring the ruins on the site or simply watching the workers shifting between destruction and construction.

Ironically, today Jazoo Yang is based in Berlin, and the big part of her artistic

Jazoo Yang Through her artistic practice, Jazoo Yang tries to understand the nature of time and to explore the special kind of nostalgia – a longing for the unfamiliar past. Jazoo is wandering through the streets of different cities with a great care for details and the objects around her.

This is the way she collects the fragments of urban environment in order to transform the broken pieces into framed works.

Whether it is a layer of the peeled pale paint, the piece of wood or a tile, these “specimens” are meant to maintain the certain time and place in the hands of an artist. When German

artist Kurt Schwitters was collecting the fragments of the ruined country during the interwar period, those pieces were screaming in his collages. But times have changed and the modern age is merely one step away from being overwhelmingly noisy; there is no use from screaming here anymore.

Jazoo’s pieces are not screaming; instead, they are gently whispering a promise never to forget.

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Street art In 2015, back in the days when Jazoo Yang was still living in South Korea, she started the Dots series. She simply covered the house which was set to be demolished with her fingerprints. Meticulously day by day, fingerprint by fingerprint, she marked the entire house with INJU (traditional Korean ink-soaked pad used for taking thumbprints on the documents, since it has a legal effect similar to a personal signature). It was Jazoo’s poetical act against the redevelopment crisis in the port town of Motogol. It was her very own way to overcome the personal trauma and the common sorrow of local inhabitants who were forced to witness the wreckage which they once called home.

And do you know who actually taught Jazoo Yang how to use INJU in a proper way? It was the manager working at this particular redevelopment area. From the very beginning, the man wanted to get rid of the uninvited artist on the site, but soon he somehow became friendly with her. Maybe it was caused by support of local inhabitants or perhaps by her charm which naturally comes with such a sensitive persona.

Whatever the reason might be, the manager opened to her through many stories and he was the one who made a valuable advice – to mix the ink with water in order to have a clear fingerprint. He surely knew the case, since all the documents regarding redevelopment were validated by INJU thumbprints. Made by the hands of residents…

The artistic practice of Jazoo Yang varies between the studio

work, street intervention and live painting. Therefore, she can simultaneously fit into the “uncontaminated” gallery show or the “street art” event. Lately, she participated in the 8th edition of Bien Urban, a French festival which is currently considered as one of the most genuine and forward-thinking events in the field of urban art. This year, the festival was co-curated by American artist Brad Downey, thus Jazoo Yang had a chance to discover the streets of Besançon in a company of Santiago Sierra, Helmut Smits, Vladimir Turner and other artists who are known for their unconventional perception of the street.

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O B E Y

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Obey Giant Shepard Fairey Frank Shepard Fairey born February 15, 1970) is an American contemporary street artist, graphic designer, activist, illustrator, and founder of OBEY Clothing who emerged from the skateboarding scene.

He first became known for his “Andre the Giant Has a Posse” (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD).

Shepard Fairey was born and raised in Charleston, South Carolina. His father, Strait Fairey, is a doctor, and his mother, Charlotte, a realtor.He attended Wando High School in Mt. Pleasant, South Carolina, and transferred to high school at Idyllwild Arts Academy in Idyllwild, California, from which he graduated in 1988.

Fairey became involved with art in 1984, when he started to place his drawings on skateboards and T-shirts.He moved to Rhode Island in 1988 to attend the Rhode Island School of Design (RISD). In 1992 he earned a Bachelor of Fine Arts degree in Illustration from the RISD. Fairey created a series of posters supporting Barack Obama’s 2008 candidacy for President of the United States, including the iconic “HOPE” portrait.[53][54] The New Yorker art critic Peter Schjeldahl called the poster “the most efficacious American political illustration since ‘Uncle Sam Wants You’”.[55][56] Fairey also created an exclusive design for Rock the Vote. Because the Hope poster had been “perpetuated illegally” and independently by the street artist, the Obama campaign declined to have any direct affiliation with it.[57] Although the campaign officially disavowed any involvement in the

creation or popularization of the poster, Fairey has commented in interviews that he was in communication with campaign officials during the period immediately following the poster’s release. Fairey has stated that the original version featured the word “PROGRESS” instead of the word “HOPE”, and that within weeks of its release, the campaign requested that he issue (and legally disseminate) a new version, keeping the powerful image of Obama’s face but captioning it with the word “HOPE”.[58] The campaign openly embraced the revised poster along with two additional Fairey posters that featured the words “CHANGE” and “VOTE”.

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Neo Rauch’s (b. 1960) paintings are characterized by their distinctive combination of figurative imagery and surrealist abstraction. His enigmatic compositions employ an eccentric iconography of human characters, animals, and hybrid forms within familiar-looking but imaginary settings. While Rauch begins each work without a preconceived idea of the finished result, there is a uniquely recognizable, visual coherence to his oeuvre.

DUO , Oil on canvas, 11.75” x 15.75”, 2014

Neo Rauch

Neo Rauch – Works from 2008 to 2019 will be on view at the Palazzo Pitti in Florence from October 16, 2019 through January 12, 2020. In 2019, Neo Rauch: Aus dem Boden was presented at Des Moines Art Center, Iowa, and traveled to The Drawing Center, New York.

In 2013, BOZAR – Centre for Fine Arts in Brussels presented a solo show of the artist’s work entitled Neo Rauch: The Obsession of the Demiurge. Selected Works 1993-2012 and in 2010 his first major museum survey was co-hosted by the Museum der Bildenden Künste Leipzig and the Pinakothek der Moderne, Munich. A version of this survey was shown at the Zachęta National Gallery of Art, Warsaw in 2011.

Rauch’s work has been the subject of solo exhibitions at prominent institutions internationally.

Rauch was born in 1960 in Leipzig, where he continues to live and work, and studied at the Hochschule für Grafik und Buchkunst. Since 2000, Rauch’s work has been represented by David Zwirner. His 2019 solo exhibition Propaganda, on view at the gallery’s Hong Kong location, marks the artist’s eighth gallery presentation and his first solo presentation in China.

Previous solo exhibitions at the gallery in New York include At the Well (2014), Heilstätten (2011), Neo Rauch (2008), Renegaten (2005), Neo Rauch (2002), and Neo Rauch (2000), which marked his United States debut.

Paintings often display palettes of strong, complementary colors, and recurrent subjects include the seamless integration of organic and non-organic elements as well as references to the creative process, music, and manual labor. The artist’s treatment of scale is deliberately arbitrary and non-perspectival, and often seems to allude to different time zones or planes of existence.

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Museum collections which hold works by the artist include the Gemeentemuseum, The Hague; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Kunstmuseum Wolfsburg, Germany; The Metropolitan Museum of Art, New York; Museum der Bildenden Künste Leipzig; Museum Ludwig, Cologne; The Museum of Modern Art, New York; Pinakothek der Moderne, Munich; Solomon R. Guggenheim Museum, New York; and the Stedelijk Museum, Amsterdam.

‘‘These are, at best, finger exercises, which I complete in a trancelike state.’’

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JavierCalleja Finds

That

In ter view nd a Portr ait

by Sasha Bogojev

Magic Moment

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“..Nara’s distinctively simple aesthetic has had an evident impact on the style and content of Calleja’s own artwork..’’

Málaga, 1971 Acid and optimist, big and small, obvious or cryptic, infantile or adult, the work of Javier Calleja develops from contrasts, which are copulative and disjunctive, and not completely resolved. The artist from Malaga has developed a creative project where the distortions of scale, the mixture of supports (mainly sculpture, drawing and painting), and site-specific work are combined in a particular world indebted to the child reader of comics that survives in it. In addition to the comics, pop art and a surrealism of Magritte origin both influence the work of Javier Calleja. Author of installations and mural paintings in which he plays with the idea of artwork within the artwork, the artist invites the viewer to form part of playful scenes, to relate to his cubic-headed characters and to interact by participating in his ironies or by reacting to the disproportionate sizes that evoke the worlds of Alice.

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MIRANDA BARNES Miranda Rae Barnes is a Caribbean American photographer born in Brooklyn, New York in 1994.She received her Bachelor of Arts in Humanities and Justice from John Jay College of Criminal Justice in New York City. Her work has been featured nationally in recent exhibitions at the Brooks Museum (Memphis, TN, 2019-2020), Photoville (Brooklyn, NY, 2019, 2018), and FotoFocus Biennial (Cincinnati, OH, 2018). A Magnum Foundation fellow and PDN30 in 2019, she has been featured in Artsy, Harper’s Bazaar, Le Monde, It’s Nice That, Vice Magazine, and W Magazine. Her selected client list includes Adidas, The Atlantic, FT Magazine, The New York Times, The New Yorker, TIME, Leica, Vogue Magazine and Wall Street Journal Magazine. She lives and works in Brooklyn, New York. On the side, she was interested in making portraits for a project on black female twins. She bought a Hasselblad because it was “light and would do.” Her Instagram posts caught the attention of a photo editor at The New York Times, who called Barnes in March, 2018. Could she fly to Memphis to cover the 50th anniversary of Martin Luther King’s assassination? “I was shocked,” Barnes says. One of

37 her photos made A1, and a double-page spread inside featured 15 of her photos.

Morrigan McCarthy, national picture editor at The New York Times, says, “Miranda’s sense of color and light, combined with the generosity she shows her subjects, create images that feel like a favorite old photo, but at the same time utterly modern. It’s a mesmerizing combination.”

Mining history is important to Barnes’s storytelling. She’s researching crime and punishment in the late nineteenth and early twentieth centuries for a project about the legacy of lynching, and wants to stop “tiptoeing around race and class.” She will delve into statistics for a project about how the Caribbean community has contributed to New York City’s development.

Mary Quant

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She became an instrumental figure in the 1960s London-based Mod and youth fashion movements.She was one of the designers who took credit for the miniskirt and hotpants, and by promoting these and other fun fashions she encouraged young people to dress to please themselves and to treat fashion as a game.Ernestine Carter, an authoritative and influential fashion jour-

nalist of the 1950s and 1960s,[8] wrote: “It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there are three: Chanel, Dior, and Mary Quant.”

In the late 1960s, Quant popularised hot pants and became a British fashion icon.[26] [27] Through the 1970s and 1980s she concentrated on household goods and make-up rather than just her clothing lines, including the duvet, which she claims to have invented.]

In 1988, Quant designed the interior of the Mini (1000) Designer (originally dubbed the Mini Quant, the name was changed when popularity charts were set against having Quant’s name on the car). It featured black-and-white striped seats with red trimming. The seatbelts were red, and the driving and passenger seats had Quant’s signature on the upper left quadrant. The steering-wheel had Quant’s signature daisy, and the bonnet badge had “Mary Quant” written over the signature name. The headlight housings, wheel arches, door handles and bumpers were all “nimbus grey”, rather than the more common chrome or black

fashionable clothesavailable to everyone.Her range39 ofButterick hom esdressm aking patterns broughtsom e ofherm osticonic designsw ithin reach ofallQ uantfansforthe costofpurchasing a Voguem agazine,and herhugely successful cosm eticsline,introduced in 1966,established her asthe godm otherof ccess a ible designerfashion forall.

Did she actually startin retailbefore d esign?Did herstore Bazaarpre-date M ary Quant es d igns? trimm ing hatsatErik’s, cout a ure m illinerin M ayfair.By 1955,she opened herexperim ental firstboutique,Bazaar,on King’sRoad in London.

Initially,herrole w asto com b w holesale w arehousesand artschoolsto source quirky garm entsand jew elry forthe shop.How ever,she available,and so began to design herselfin 1956, studying atnightschool.Once she began designing, hergarm entsw ere so popularthatthe stock w ould defined as ahand-to-m outh operation,w ith Quant m aking dressesin herbedsitin the evening to replenish stock forthe nextday.

Isit a stretch to say thatshe w asone ofthe

finishes.

Two thousand were released in the firstto transform shopping from a u prchase UK on 15 June 1988, and a number were transaction to an actualexperience,and m aybe also released on toint foreign markets; one ofthe fir stto roduce fast retail? however, the numbers for theseofare hard to of come Bazaar w as afor erunner the expl osion bout i que shops, w hi ch happened i n t he l at by. The special edition Mini came ine two and ’60s London.

Through Bazaarwhite. , body 1950s colours, jetinblack and diamond Q uanttransform ed the retailexperience In 2000, she resigned as director of Mary ata tim e when shopping w asa relatively form alexperience.Through m usic,drinks, and continually changing stock,she created

Quant Ltd, her cosmetics company, after a Japanese buy-out.

[28] There are more than 200 Mary Quant Colour shops in Japan.

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Antony Micallef

ABOUT

Antony Micallef is a British contemporary artist working in London. He was taught by renowned landscape painter John Virtue, who was in turn taught by the last of the post war painters, Frank Auerbach. His work features in collections across the world and his work has been shown in prominent institutions as The National Portrait Gallery, The Royal Academy, Tate Britain and the ICA London.

Rooting his expressionistic paintings in social commentary and self-examination, Antony Micallef is a traditional artist whose bright color sometimes belies the troubling nature of his imagery. Figures and faces emerge from Micallef’s veils of loose, abstract brushstrokes, recalling the figurative work of Francis Bacon, Brad Holland, and Ralph Steadman. Micallef derives his visual language from the Old Masters, graffiti, fashion magazines, corporate iconography, and Japanese cartoons. “The

trouble with pop imagery is that it doesn’t really go deeper than the surface,� he says. “You have to drag it down and challenge it to make it interesting, marry contrasting emotions and motifs.

The union of two opposites make an intriguing and strange chemistry

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Institutions and Museums 2019 Canterbury Cathedral, Easter projections, UK 2019 Chatsworth House Arts Festival 2019 2018 MUCA Munich Museum, History of Portraits 2017 Nottingham Castle Museum and Art Gallery UK 2014, Royal Academy, Summer Show, London UK 2013, Copelouzos Family Art Museum, Athens, Greece 2012, The Institute of Contemporary Arts, London, UK 2009 Royal Academy, GSK Contemporary, London UK 2009 Elton john Aids Foundation, Sculpture Garden UK 2008 Tate Britain, Goodison room, London, UK 2008 Warrington Museum and Art Gallery, UK 2006 National Portrait Gallery, London UK 2005 National Academy of Fine Arts, Sofia, Bulgaria 2000 Aberdeen Art Gallery and Museum, BP Portrait, Scotland 2000 National Portrait Gallery, BP Portrait London, UK 1998 Gjethuset Cultural Centre, Denmark 1998 Art Uk Collections. Supported by the British Arts Council.

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Maxwell -McMaster Maxwell McMaster is a Los Angeles based multidisciplinary artist/designer. His work is primarily a reaction to his surrounding environment, or a reflection of past experiences. Maxwell explores a wide range of styles and techniques within his work, allowing the concepts to dictate the aesthetic.

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Emily Mae -Smith Born in 1979 in Austin, Texas, USA Lives and works in Brooklyn, New York, USA Emily Mae Smith creates lively compositions that offer sly social and political commentary, with a nod to distinct historical painting movements, such as symbolism, surrealism, and pop art. Her lexicon of signs and symbols begins with her avatar, an anthropomorphic broomstick figure. Simultaneously referencing the painter’s brush, a domestic tool associated with women’s work, and the phallus, the figure continually transforms across Smith’s body of work. By adopting a variety of guises, the broom and other symbols speak to contemporary subjects, including gender, sexuality, capitalism, and violence. Smith has been the subject of solo exhibitions at Le Consortium, Dijon, and the Wadsworth Atheneum Museum of Art, Hartford, Connecticut.

Above: Fiction Flesh , Oil on linen, 47” x 58”, 2018, tesyCour the artist tand emporary Con Fine Arts, Berlin

EM ILYMA E SM ITH

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Symbolism of the broom[edit] An anthropomorphized broom is a reoccurring symbol in Smith’s works.

Patricia Hickson writes, “Leading with humor, she presents a vocabulary of signs and symbols that start with her avatar, inspired by the bewitched broomstick figure from The Sorcerer’s Apprentice sequence in Disney’s animated film Fantasia (1940). This unlikely (…) choice is an astute one as the broom simultaneously alludes to a painter’s brush, a domestic tool associated with women’s work, and the phallus. Smith’s flexible character has continued to evolve across her body of work. By adopting a wide variety of guises, the broom and a stock pile of other coded symbols speak to timely, relevant subjects, including gender, sexuality, capitalism, and violence.”[5]

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Above: Citadel , Oil on linen, 30” x 38”, tesy2018, the artist Cour andPerrotin, Galerie York New

EM ILY MA E SM ITH

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“Emily Mae Smith explains; ‘The broom-like figure,

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porary Fine Arts, Berlin, Germany; Simone Subal Gallery, New York; and Rodolphe Janssen, Brussels, Belgium. She has participated in group shows in galleries including Perrotin, Peter Freeman, Tanya Bonakdar Gallery, Kohn Gallery, KĂśnig, and Marlborough Fine Art.

which has gone through a lot of permutations and changes, has the agency to move in painting and its histories because its image is bound up with our phallocentric myths of authenticity and creation.’

Exhibitions[edit] Smith has had solo exhibitions at multiple institutions around the world, such as MATRIX 181, curated by Patricia Hickson at the Wadsworth Atheneum, Hartford, Connecticut, 2019; Emily Mae Smith, At curated

by Eric Troncy at Le Consortium, Dijon, haveto use m ineralspiritsand so on,and I really w hatpointdid you startsharpening your hum orin trying to m ake invisible thingsvisible.

France, andaframThe Little Apocrypha, with Adam Henry & Emily Mae Smith at visual language?

The m outh2018; started as e,and I thought m ake sm allpaintingsw ith w atercolor, cr aylic, During2017. the recess ion has here in New been York,roughl y thatif put I artw hat have I toBirsfelden, say inside ofthis, like, SALTS center, Switzerland, She also featured in promithingsthatw ere w ater-based.M y w ork becam e 2008 and 2013,itw asreally hard,and I had to go cartoonish,m an-splainy kind ofm outh,attention nent art galleries including Perrotin, Tokyo in m Contemore sim ple and m ore hard-edged because of from one(upcoming w eirdjob to anot herSeptember ,working forarti2019); sts, w ould be paid.Itw as ajoke,like if wIear a m ustache,you'llthink have I som ething m ore

orworking forgalleries. dr Iew illustrationsfor a

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Yoshitomo Nara N’s YARD

51 This private facility was born out of Yoshitomo Nara’s desire to set up a place in Japan where his works could be enjoyed in a more casual, personal setting.

N’s YARD is a contemporary art space showcasing the work of Yoshitomo Nara and other modern artists. Besides works, the exhibits feature record sleeves and art objects lovingly collected by Nara over many years.

Nara picked the location after being captivated by Nasu’s rich natural environ- Aside from a diverse selection of Nara’s works, paintings, drawings, and three-dimensional works, the five exhibition rooms contain disment and scenery.

Following an advance open-plays personally curated by Nara, including his collection of records, ing in November 2017, N’s dolls, and pieces by other artists.

YARD officially opened in Outside stands a 5m bronze sculpture, Miss Forest / Thinker.

March 2018.

Exhibits are changed once a year during the facility’s winter closure, The site also features a gift but new works are also sometimes displayed for limited periods soon shop selling original items after completion. and a café offering light Along with the seasonal beauty of Nasu’s natural environment, this meals, drinks, and desserts space lets visitors directly experience the world as viewed by Yoshitomade with handpicked mo Nara. ingredients.

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STEVE NAZAR

One of the awesome things about working with illustrators is there’s no jumped-up sense of entitlement. The legendary Steve Nazar is one of those dudes. Seems like he lives a pretty chill life, drawing and hanging out in Southern California, and always seems very humbled by compliments on his work online.

Steve’s work is pretty unique: There’s a real nice balance between ace illustration, gross-out teen stuff, classic surf iconography and outsider, humorous British seaside postcard stuff.

I’m stoked we got to do this interview as I remember my friends cool, older brother, had a T&C Surf ‘Da Boyz’ tee back in the day. I didn’t know who it was by and then, I didn’t

53 really care too much. I remember wanting to find out more about these guys and wondered what their lives were like. I made stories up for them in my head, which, I suppose, is a high compliment of character design.

Having since looked into it, some of the stories Steve made up for them are much better than the ones I did. The lead image of this post, and you can see it below, show ‘…Da Boyz walking out of a modern art museum, themselves having been transformed into cubist masterpieces’: fucking amazing.

It’s awesome to see Steve’s work today, and how he’s still practising, and still sticking Da Boyz into commercial jobs – they pop up in a bunch of unusual spots. And he’s picking up a bunch of really cool work – such as a line of boards for Deathwish skateboards in recent years.

RUTH ASAWA

54 Ruth Asawa was an American artist known for her intricate sculptures based on sinuous organic forms. Using galvanized wire, stone, and bronze, Asawa crafted nest-like works inspired by native Mexican basket-weaving techniques. “I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent,” she said of her materials. “I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.” Born on January 24, 1926 in Norwalk, CA to Japanese immigrants, her early life was blighted by her family’s detainment in a Japanese-American internment camp during World War II. After the war, Asawa left California

in pursuit of a teaching degree from Milwaukee State Teachers College. Met by discrimination in Milwaukee, the artist abandoned her teaching degree and ventured to Black Mountain College in Asheville, NC. While at Black Mountain College, she studied under prominent artists such as John Cage, Josef Albers, Buckminster Fuller, and Merce Cunningham. Asawa died on August 5, 2013 in San Francisco, CA. Today, the artist’s works are in the collections of The Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, and the de Young Museum in San Francisco.

We are a small staff comprised of the children of Ruth Asawa.

We honor her legacy by assisting the general public, curators, scholars and journalists in their efforts to understand her work and present her life story.

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“The planting cycle is very important because children begin to observe and understand that different activities take different amounts of time and effort, and most importantly, there are certain things you can’t rush. For example, you can’t force a plant to bloom. It has a cycle. You have to tend it and care for it and wait for the bloom to happen. If you don’t take care of it, it dies. The more experiences you have like this, the more you begin to understand your own cycle.”

gett ing the reference photosyou use in your w ork?

Ido enjoy having agood reference picture.Idon’t have m uch technicalknowledge ofphotography, so Ihave to look m ore into that.W hatInorm ally do istake a lotofphotos,so afew ofthem from the sam e session are usually good.Atthe sam e tim e, the bad,accidentaland rough onesw illsom etim es haveelem entsthatlend them selvesto a painting.

Ioccasionally even m ake tripsorsm allerexcursions around to take these pictures.Also,ifIpaintin a foreign country,Ialw aysphotograph alot.

inside each room .

illum inationsordark w indow s.Itfeelslike they

and roadside nightclubsalong the highw ay.

According to Sebas there is no common theme in his works, but still there are certain aspects that appear more often. “Normally I don’t have specific messages, because I am interested in a lot of things. Most of all I am interested in the story of individual people. Each work contains its own story of a different person. I am often interested in people that migrate from one place to another. Then I ask myself: why do they move? Is it because of war? Or work?

For example, in Croatia I painted a guy that was born in Bosnia, and then moved to Croatia to work. I painted this wall in a though neighborhood, on an old building with a lot of bullet holes m his w o n reference photographs he creativeprocessofSpanish artist o ashe seeksto im m ortalize the intangible.Focused on capturing the of par a ticularplace,usually Central uropean suburban environm ents, raysthe beauty ofbanal,som etim es s.Using hispainterly technique and ressive brushwork,Velasco extracts e,taking itto a large w allorcanvas, eye trained to observelightcontrasts ns,he capturesJarm usch-like im agery ally opposed settings.Preserving feeling ofplace,hism uralsand oils entity before the grasping hand of n stam psitsinevitable im print.

W hatisthe idea behind including charactersin yourw ork,especially the m urals?

Partly it'sbecause Ilove the portraitasa pictorial discipline,and in m urals,the portraithasa strong com m unication w ith the view er.I'm usually looking forindividualsw ith certain physicalattributesthat

from the Second World War. The same with my work here in Rotterdam. The work illustrates Chino, a guy that lives in Holland, but originally was born in China. Most of the time the experience is more important than painting the wall. The relationship with the people is more important. Painting the wall is a way of sharing my experiences when I travel.” jev:W hatdraw syou tow ards rban nightsettings? co:Severalthings,but guess I one has aprim ary attraction tow ardsthe night sand how pow erfulthe electric lights he darkness,like sortofan island of Atthe sam e tim e,thisfeeling ispretty because there isstill l aotofsolitude tofim ages. have I m em oriesof w hen

you enjoyed,and how dothey co I've taken a lotphotos in centra European countries like Poland,

thatpainting buildingsasbackgro

He loved what he was doing and even won some prices for his Itarte to thisobsession.But when s was an tigat themworks. isw henThis Ibegan to inves somextra e artistmotivation sare interestedfor in talkin themhim essoto they pi ck t he m os continue. “Ittaccu is tackle them .In m y case,it's abitth not important to win through painting,I'm trying to und prices, but it is always w hatIam dealing w ith. nice!”.

W hat isitabout footballhis fan cultu Sebas describes att ractsyou? style as figurative, W ell, I loveboth to w atch and pl but he also says that shitatit,so I guess itcom esfrom it iis changing all the wh asan nter nationallanguage to pl ay ori“I niti ate conver sationsw time. learned to over t he wor l d.

I adm i r e the peo paint with spray cans, but at some point I itaw ay from the big businessan stuck with getwas itback closer to itsthe socialorig “That was intrtechnic”. igued by the peopl e who m a betthe w eenmoment culture and football.W when studyi ng fine ar t s, i t w aseven ki I started to paint with a brush, and m uralartscene,people seem m o it ual really opened myng th it.Act ly,w e are discussi practice.

A new ofor ganizing som e kindwall of“w all playi football”pr ecttogethe ofngsubjects.

I oj realized inter ionalbring m uralist friends.

I nat could more stuff together in the u You travelfrequently w ith the p wall. refer ence”photos.W hatare som e

Ther e are alotartist ofarchi tectur Spanish that isalele w orbased k,too. in San SebasOn one hand,that’sbecause ofit tian, and was origireflectsociety and politicalchang nally born in Burgos. urban developm entin Eastern Eu When he wasalaly.kid inter estsm e, especi On the he o Ifeel sensorial reasonsand strong started drawing, and w hen looki ng towhe ards those big soon after started com plexes.Ithink thisattraction to do graffiti with tim e ago.Irem em berw hen Iw as his friends. After his partsofm y hom etow n w ith “big”b child years hepeci went m y at tention alot,es ally tto hiso thatBilbao had som to e kido nd of outsarts. ide corr fine

Sebas Velasco is a

SEBAS Beauty V EL inASCO Bleak

SebasVelasco

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57 One of his inspirations has been Axel Void, but there are many Spanish artists that inspired him to improve or change his technics.

“They were painting walls in a different way, and this was also an inspiration for me. We inspire each other.”

Nevertheless, Sebas doesn’t travel that much, and prefers to paint canvasses in his studio with his fellow artists.

Living in Basque country, and most of his family being Basques, he is also busy with learning the Basque language.

Thereby in “Public Provocations” show, he begins with graffiti writers in action and broadens his attention then to other concepts around it, such as Street-culture, architecture or nightlife.

GRACE WEAWER

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In her striking portrayals of the tragicomic everyday, Grace Weaver examines the charged social and cultural conditions that underlie self-concept, intimacy, and individual experience. Depicting elastic-limbed, Mannerist figures that arrange themselves before mirrors and collide on street-corners with an unrelenting air of exuberance, her works contend with what she terms the “theater of public life.” In Weaver’s paintings, body becomes scenario: playful, sweeping lines and dense planes of luminous color act as linguistic elements, each directing its own physical weight and affect onto her female subjects.

In Weaver’s paintings, psychological narratives are suggested with an economy of expression— through the sideways tilt of a glance, the subtle curl of a lip, or the droopy slouch of a shoulder.

Occupied with observations of self-conscious performativity and awkward aspirationalism, her work is grounded in an insistent empathy with her subjects. The protagonists in Weaver’s solitary female portraits are not necessarily drawn from life—rather, the artist considers them archetypes of feminine self-presentation. They are pictured in once-private spaces of preparation—the kitchen, the vanity mirror—that have become semi-public.

Presenting these vignettes in a distinctive aesthetic, Weaver flattens and elongates her figures, giving them an almost cartoon-like appearance.

The young painter had two breakout shows in 2015 and 2016—“Teenage Dream” at Thierry Goldberg Gallery and “Skinny Latte” at Soy Capitán—which were aptly titled with references to popular culture.

Looking toward influences that range from the torqued perspectives of American Regionalism to the gravity of Piero della Francesca’s paintings and the monumental figuration of Jose Clemente Orozco’s murals, within Weaver’s street scenes, the sidewalk serves as a stage upon which interpersonal dynamics and power struggles are played out. Alienation versus belonging, cruelty versus connection—the pains, pleasures, and anxieties of everyday existence are writ large in this collective space. Weaver playfully explores the contradictions embedded in this social fabric: who has power, who is powerless; who is revealed, and who is hidden from the gaze of the viewer. These scenes allow her to build an audience within the painting, creating a chorality within the picture plane. The cast of characters, like Weaver, are as much subject to performing a strata of social anxieties as they are to wryly observing them.

Grace Weaver (b. 1989, Vermont) received an MFA from Virginia Commonwealth University in 2015.

Her work has been the subject of solo exhibitions in New York, NY; Burlington, VT; Berlin and Reutlingen in Germany, Glasgow, Scotland; and Chennai, India, and is featured in the collections of ­­­­FRAC des Pays de la Loire, Carquefou, France; ARoS Museum, Aarhus, Denmark; and the Pizzuti Collection of the Columbus Museum of Art, Columbus, OH. In 2019, Weaver presented concurrent solo exhibitions at institutions in Germany: O.K., at Kunstpalais Erlangen and Little Sister at Oldenburger Kunstverein. The two museums have collaborated on the first monograph of the artist’s work, published by Kerber Verlag. Weaver lives and works in Brooklyn, New York.

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TODD ScHORR

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61 Todd Schorr was born in New York City and grew up as a child in Oakland, New Jersey.

Showing a compulsion for drawing at an early age, his parents enrolled him in Saturday morn€ ing art classes when he was five years old. Deep€ ly affected by fantasy movies such as the 1933 film classic King Kong and the early animated cartoons of Walt Disney and Max Fleischer, their influence along with comic books such as Mad would have a lasting effect on Schor€ r’s developing visual vocabulary.

While visiting the Uffizi gallery in Italy on a trip to Europe in the summer of 1970, Schorr be€ gan to formulate his idea of combining his love of cartoons with the painting techniques of the Old Masters. He entered the Philadelphia College of Art (now the University of The Arts) in 1972 wanting to be a painter but was advised by his first year painting instructors that he would be better suited in the illustration de€ partment.

Schorr began getting professional illustration work while still in college, and soon after graduating in 1976, he moved to New York City where he provided work for a wide variety of projects including album covers for AC/DC, movie posters and covers for Time magazine.

By 1985 Schorr had become increasingly frus€ trated with the creative restrictions imposed by commercial assignments and began to make a concentrated effort to break away from ad agency halls and move on to art gallery walls.

Being invited to par€ ticipate in the 1986 landmark exhibition American Pop Cul€ ture Images Today which took place at the Laforet Museum in Tokyo, proved to be a galvanizing experi€ ence. This launched him as a professional artist.

Kristin Farr is an artist and journalist based in the San Francisco Bay Area. She interviews artists for print and web media for Juxtapoz Magazine and KQED Public Media. She has had the pleasure of interviewing hundreds of artists, including Barry McGee, Miranda July, Daniel Clowes, and David Shrigley, among others. She is also an artist, creating work in different mediums that often address nostalgia, humor, and relationships between colors.

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KRISTIN FARR

Cheyenne Julien (b. 1994, Bronx, NY) lives and works in The Bronx. Julien received her BFA in Painting at the Rhode Island School of Design in 2016. She was a participant at the Skowhegan School of Painting and Sculpture in 2016. Julien has also participated in artist residencies at the OxBow School of Art in Saugatuck, MI in 2016 and with the Vermont Studio Center Fellowship, Johnson, VT in 2016. She was awarded the Bronx Recognizes Its Own (BRIO) Grant from the Bronx Council on the Arts in 2017 and the Florence Leif Award from RISD in 2016.

Her work is currently on view with Smart Objects in Los Angeles and with American Medium, curated by Freeman Gallery in New York, and her work will be included in the upcoming survey Dreamers Awake at White Cube Bermondsey in London.

“My work is based on personal narratives. Race is something that is inherent in all of my painting, but some works represent it more overtly than others.

I think there is power in clarity, and I also think there’s power in nuance,” Julien says.

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Cheyenne Julien

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