A PERFECT CAMPAIGN
COLOSSUS OF ROADS
THE DEFINITIVE INTERVIEW
SWISS ARMY KNIFE
A FACTORY TOUR
ART+CULTURE+DESIGN
AUG 13, n151
He Comes In Peace
DAVID CHOES
AFGHANISTAN
TOUR DIARY
+ Photos by Estevan Oriol
DAVID CHOE IN UAE
Photo by Estevan Oriol
JUXTAPOZ
ISSUE #151 AUGUST, 2013
10
CONTRIBUTOR SPOTLIGHT
14
INTRODUCTION
18
THE REPORT
22
EVENT
24
PICTURE BOOK
32
DESIGN
36
FASHION
42
INFLUENCES
48
DAVID CHOE:
THE AFGHANISTAN TOUR
60
VANIA ZOURAVLIOV
68
ADAM PARKER SMITH
76
COLOSSUS OF ROADS
86
TROELS CARLSEN
94
MOMO
102
ANTLER GALLERY SPOTLIGHT
112
JULIE NORD
122
TRAVEL INSIDER
126
BEAUTIFUL BITS
128
REVIEWS
130
EVENT
134
STYLE
136
SIEBEN ON LIFE
138
POP LIFE
142
PERSPECTIVE
FOUNDER
ROBERT WILLIAMS
EDITOR
EVAN PRICCO
ART DIRECTOR
TRENTON TEMPLE
MANAGING EDITOR
ALEX NICHOLSON
CO-FOUNDER
GREG ESCALANTE
CREATIVE CONSULTANT
SUZANNE WILLIAMS
GROUP CREATIVE DIRECTOR
KEVIN CONVERTITO
CHIEF TECHNICAL OFFICER
NICK LATTNER
EDITOR-AT-LARGE
C.R. STECYK III
CONTRIBUTING WEB + PRINT EDITORS
AUSTIN McMANUS
HANNAH STOUFFER
PHOTOGRAPHY DIRECTOR
AUSTIN McMANUS
CONTRIBUTING PHOTO EDITOR
LINDSEY BYRNES
JUXTAPOZ ILLUSTRATOR
MUNK ONE
THE FINAL READER
KRISTIN FARR
AGENCY DESIGNER
DREW BRISCOE
CONTRIBUTING WRITERS
DAVID CHOE
GREG ESCALANTE
KRISTIN FARR
PAUL FRANK
HENRIK HAVEN
CODY HUDSON
ANDREW MCCLINTOCK
AUSTIN McMANUS
ANGELO MILANO
KEN NELSON
EVAN PRICCO
MICHAEL SIEBEN
HELEN SOTERIOU
C.R. STECYK III
HANNAH STOUFFER
ROBERT WILLIAMS
CONTRIBUTING PHOTOGRAPHERS
IAN CAMPBELL
COLOSSUS OF ROADS aka buZ blurr
AMY DURAN
HENRIK HAVEN
ERADA KHANMAMEDOVA
JONATHAN LEIJONHUFVUD
ANDREW MCCLINTOCK
ANGELO MILANO
MATTHEW MILLER
ALEX NICHOLSON
ESTEVAN ORIOL
HELEN SOTERIOU
ERIC MINH SWENSON
INTERNS
GEORGIA KNOWLES
LAUREN YOUNG SMITH
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cover photo by
ESTEVON ORIOL
David Choe
2013
JUXTAPOZ ISSN #1077-8411 AUGUST 2013 VOLUME 20, NUMBER 8
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STAFF
10 JUXTAPOZ
ESTEVAN ORIOL
Photographer for DAVID CHOE: THE AFGHANISTAN TOUR
EARLIER THIS YEAR David asked me if I wanted to go to the Middle East with
a plan to vist Dubai and Afghanistan. Then the scenario got smaller, and we were
going to Dubai and Turkey. Hearing this, I was a little bummed because I had gone
through a lot to get the visa and passport and spent the money for the Afghanistan
portion, but Im a team player and was down to go wherever!
Once we got to Turkey, our Afghanistan connection ended up coming through,
and we were directed to meet with him when we got back to Dubai. Saad Mohseni
runs the biggest media network in Afghanistan and was the one who was going to
hook us up over there. On the rst day David painted with a female Afghani grafti
artist, and the second day they went to paint at a castle and with kids at their school.
Saad hooked it up for me to go to a prison and shoot some photos of the Taliban
prisoners, so I didnt make it to the school. The third day we went to Panjshirs Valley,
aka Death Valley, where we had the ultimate tour guide, Muslem Hayat, one of the
top mujahideen ghters with Ahmad Shah Massoud during the Soviet occupation.
He later became Massouds security chief. Afghanistan is no joke, and I hope to
go back.
MORE JUXTAPOZ COVERS from ESTEVAN ORIOL
left: November 2006 cover with Mister Cartoon
right: May 2008 subscriber cover
CONTRIBUTOR
brixton.com
DOLAN STEARNS
INTRODUCTION
JUXTAPOZ
A R T + C U L T U R E M A G A Z I N E
ISSUE #151
YOU MIGHT BE WONDERING why there is a guy riding a
submerged tank in the hills of Afghanistan on our cover this month.
Maybe you think you are reading Vice, or because the photo is so well
composed, a National Geographic travel journal. No, that is David Choe
with whom we last spoke in May 2010, after which he proceeded to do
grafti with Barbara Walters, atter Howard Stern, and even had Aubrey
Plaza name-dropping him on Conan OBrien. And there was the Facebook
thingthe incredible front-page news that compelled The Times to write
about the grafti artist who chose Facebook stock instead of cash.
For about a week, David was the most famous stockholder in America.
Which is sort of beside the point now. In early 2013, David told me that
he was going to Afghanistan. When most wealthy people rhapsodize
vacation plans, they might regale about the French Riviera and seeing the
stars at the Cannes Film Festival. David went to the Middle East during
wartime and made a ton of friends. I would like to say I wasnt surprised,
because David is a contagious spirit who literally lives life to the fullest,
and that doesnt even come close to dening who David is and what he is
accomplishing in his life. And that is why you see his picture on the cover
of this magazine.
Davids art, at its best, is a burst of energy that is so impactful, so full
of life and, yes, risk. It rivals the greats of the past 50 years. Neither a
conversation of skill, art history, or subject matter; its about capturing
the moment with one of contemporary arts most unique peoplehell,
one of the worlds most unique souls. So were here in Afghanistan with
him to witness what unappable passion and curiosity looks like in a place
where most dare not go.
What I nd fascinating today is that the energy David infuses in his art
career is indistinguishable from his life: it has been about the gamble.
If you would have told 100 emerging artists they had the choice to get
paid $50k to paint the ofces of a startup or get some shares, 999 out
of 1,000 would have taken the cash up front. David did what David does.
Such infectious condence, boldness, and vulgarity confounded The New
York Times and national media when they caught wind of him years later.
Who does this guy think he is? They were late to this story, missed the
years of blood, sweat, and tears, and by the time they caught on,
David had moved on to his next novel.
Afghanistan or bust? Maybe that is the theme here: go with your instincts.
One of the true original spirits to have been in the pages of Juxtapoz
magazine in our 19 years is showing us all that through art. A lifetime
of exploration itself is the goal, and our fearless guide keeps drawing
the map.
THE ENERGY DAVID INFUSES
IN HIS ART CAREER IS
INDISTINGUISHABLE
FROM HIS LIFE
photo by Estevan Oriol
KUSTOM KULTURE II
DONT CALL IT A COMEBACK
opposite page
Von Dutch
Working his magic
top
George Barris
...and his excaliber
NOT SIMPLY AN ART PROMOTION, the Kustom Kulture art show was and is an important
exhibit. Originally, it was the brainchild of Greg Escalante, C.R. Stecyk III, Bolton Colburn, and
the woman who dreamed up the name Kustom Kulture, Susan Anderson. It was not only the
rst Low Brow art show at a real museum, it was carefully devised to ofer disenfranchised,
underground artists admission to an overground venue. Although Von Dutch and Ed Roth
have been long dead, Kustom Kulture has spread all over the world. Robert Williams
PAUL FRANK
Kulture to me is a rebellion from what is normal and
safe. It is born out of wanting to express oneself by
visually or physically altering the everyday things in his/
her life to make them scarier, faster or louder. Its a way
of saying to the world Im diferent, I am not happy
with normal stuf, or, This is the way I think it oughta
look and I am gonna make it the best I can to make sure
you notice! Anyone who does this or appreciates this
is part of the Kulture.
I have fond memories of the rst Kustom Kulture show.
At that time I was just starting to take art classes and
become interested in sewing. I was also coincidentally
reading a book on Ed Big Daddy Roth, which showed
how he made his cars out of plaster and newspaper.
I immediately connected with his work and how he
just did these things the only way he knew how. He
didnt take a sculpting class. He just wanted to make
something that was unique and he put his heart and
soul (and sweat) into it. This had a giant impact on me.
I feel surf and car culture have everything in common.
Both are about doing something diferent than what
is normal. Both are about wanting a thrill, whether its
on a wave or in a fast car. Both are about expressing
yourself, right? I mean my friends would get their
surfoards custom made with shapes, ns and colors
that were unique to them. My car friends would cut the
fenders of their cars or put big engines in them in a
similar way. I think it is neat how you can nd Rat Fink
on a surfoard and a car.
With this show I am celebrating the inuence and
inspiration Kustom Kulture has been and still is.
Kustom Kulture has changed the way we look at >>
THE REPORT: GO SEE THIS
JUXTAPOZ.COM AUGUST 2013 19
A LOOK BACK FROM OUR CO-FOUNDER
Kustom Kulture II is important in that it revisits the original Kustom Kulture which had a profound
inuence on the cultural landscape, instrumental as it was in creating the art scene as we know it.
Juxtapoz was founded a year after the show in order to document and promote a sorely needed
new movement. It has been 20 years since the last event, and young people are in the midst of
what Kustom Kulture spawned and are curious about the history. This show serves to reconnect the
original players with a new generation, and in the overview also serves to broaden the scope of the
low brow inuence by including Margaret Keane, Don Ed Hardy, Basil Wolverton and many others.
Greg Escalante
>> and make art. I want kids and young people to see the
old and new works of this art form and hopefully be as
inspired as I have been by it.
C.R. STECYK III
Kustom Kulture II is important in ways beyond its rst
incarnation because it pays homage to the precursors
of the movement, along with established masters
like Von Dutch, Big Daddy Roth and Robert Williams.
Seen herein are works by such pioneering individuals
such as Basil Wolverton,
Harvey Kurtzman, Walt
Disney, Margaret Keane
and Rick Grifn. It also
extends forward with
expressions by RETNA,
Billy F. Gibbons, Don Ed
Hardy, Jef Decker,
Jason Maloney, and
George and Brett Barris
also being included in
the conversation.
The US Open Pro Surf/Skate event attracts one
million visitors to HB over a nine-day period.
The Huntington Beach Art Center is a paramount,
non-commercial cultural expression positioned at
the epicenter of the aforementioned transactional
explosion. Main Street in Surf City USA is ground
zero for the surfskate apocalypse.
In the risk averse arena of museum curation,
propositions like this are seldom presented to the
public. Kustom Kulture is a taboo topic. Art expression
by the unwashed and the unholy does not fare well
with the progenitors of high art.
The collaboration of a lot of forthright people made
this happen. Paul Frank, a hometown hero, comes
back to the Huntington Beach Art Center as a curator.
The City of Huntington Beach, director Kate Hofman,
Vans, Stuart and Judy Spence, Greg Escalante, Doug
Palladini, Juxtapoz and Hippodrome all provided
signicant support.
KK2 both rounds out the equation and illustrates
the previously unexamined underpinnings of
the movement.
PROPOSITIONS
LIKE THIS
ARE SELDOM
PRESENTED TO
THE PUBLIC.
HuntingtonBeachArtCenter.org
IN REAL LIFE
Kustom Kulture II will
be on display at the
Huntington Beach Art
Center through August 31,
2013. The exhibition was
made possible by Vans
IN THE VAULT
Robert Williams
explores the legend of
Ed Big Daddy Roth in
our April 2012 feature
JUXTAPOZ.COM / VAULT
top left and right
Von Dutch
left
Juxtapoz #1
THE REPORT: GO SEE THIS
20 JUXTAPOZ
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THIS SUMMER, the School of Visual Arts (SVA) in New York City
will focus on the neo-Symbolist movement with the exhibition The
Pond, The Mirror, The Kaleidoscope, a collection of 30 paintings,
drawings and sculptures from emerging and established graduates
from one of the the leading art schools in the US. Curated by Thomas
Woodruf, chair of the BFA Illustration and Cartooning Department,
and respected artist in his own right, the show will feature names
familiar to Juxtapoz such as James Jean, Mu Pan, and Timothy
Okamura, but also some of our favorites in Mark Lang, Sakura Maku,
and Martin Wittfooth.
In an essay surrounding both the alumni exhibition and the
Symbolist movement, Mr. Woodruf wrote:
The best work of the Symbolists, a global phenomenon at the turn
of the century, is rarely seen and is difcult to track down, often
regionally isolated, and critically neglected. Yet no art movement
resonates so strongly with young people today, particularly those
interested in pictures and making pictures. When I show this work in
my classes, the students always remark, where has this work been
hidden? There is no course specically dealing with this work in the
SVA Art History department at the moment, and with the exception of
the limited Neue Galerie in NYC, there has been minimal attention to
the period, yet like the u, every year comes a mean dose of Matisse,
Picasso, or Czanneexcuse me if I dont want to catch it again.
Like the Symbolists, todays neo-Symbolists are arguably eccentric
and obsessive, and they use low-tech methods to tell new stories
to new audiences. They make art that is intellectually surprising,
brimming with visions of the world as it isor how it could be.
And like the Symbolists, they are sometimes dismissed as
mere illustrators because they work in a gurative tradition.
The exhibition will be on view at the Visual Arts Gallery from
August 20September 14, 2013, 601 West 26 Street, 15th oor,
New York City. For more information, visit SVA.edu.
THE POND, THE MIRROR,
THE KALEIDOSCOPE
THE SCHOOL OF VISUAL ARTS IN NYC CELEBRATES THE NEO-SYMBOLIST
left top
by Sakura Maku
left bottom
by Mark Lang
EVENT
22 JUXTAPOZ
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BOSTON
TORONTO
NEW YORK
SAN FRANCISCO
CHICAGO
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PORTLAND
QUBEC
CALGARY
WASHINGTON DC
MINNEAPOLIS
DENVER
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Jamaica
2013
MOMO
98 JUXTAPOZ
THAT GETS COMPLEX BECAUSE INFINITY IS A LOT
TO MANAGE. FOR NOW IM JUST GUESSING
BLINDLY, AND ITS AMAZING WHAT I FIND.
That was a real disaster. We had encouragement from
locals when we asked to paint a crazy looking wall that
is worked on by a mad man who lives in the eld there.
He regularly collects paint and adds it to this abandoned
property. So I get excited about this potential
collaboration with a motivated local. But the guy is
impossible to talk to! So we paint anyway, and I do the
move where I go under, not over someone, masking
of his work so my stuf sits behind it. Then I tried to
give him our remaining paint, but it didnt go well.
What do you think about the other things youve
done in Jamaica? Do you think the people watching
already got over the fact that a foreigner painted
them, and now theyre a part of the place?
Its curious what people think. I think some cultural
diferences make the relevance hard to translate both
ways. Theyre more likely to believe everyone is an
artist and that self-expression is natural, even the
rawest spray paint scribble styles. One guy who had
covered a building this way explained to us that he
needed to buf it all, to do it again exactly the same,
but better. We were embraced everywhere, but it
was casual.
This goes with the legend. They say that youve been
living in a cave or a tent or a camper. Whats that all about?
Looking for a way through life led me outside. A lack
of money, but also stimulation and fresh air is how
I metthe street thing. Its not really important,
the biographical stuf, although sometimes I think
outside is the best. The people there that dont t
the program are the best, and I dont want to forget
them or that perspective.
What other suggestions would you give to the
thousands of MOMO wannabes?
Really? Are there other people?
Are you kidding? Ive seen many people biting on
your stuf.
Then Ive made it! Youre nothing until youre
inuential and in my own lifetime, I didnt expect
this. Well kids, get eight hours of sleep, lots of exercise,
cut your own hair, buy nothing, stay homeless, and read
all you can. Drugs are bullshit and everyone knows it
but they dont tell you until youre older. Love probably
isnt real, its like a drug. Sorry.
For more information on MOMO, visit MomoShowPalace.com
JUXTAPOZ.COM / MOMO
GROTTAGLIE,
ITALY
MOMO
AUGUST 2013 101 JUXTAPOZ.COM
SHROUDS & SINEW
AT ANTLER GALLERY
Interview by HANNAH STOUFER
the three artists selected to exhibit in Antler Gallerys Shrouds & Sinew show
ofer a collective narrative from both the threads that intertwine to those that
appear stylistically alien. The intensely grotesque imagery of Allison Sommers
eshy abominations contrast starkly with the vibrant patterns adorning Stacey
Rozichs beasts that, in turn, reect within the glowing, ethereal characters
created by Morgaine Faye. The exhibition as a whole ebbs and ows visually
between comparison and contradiction with an enveloping sensory stimulus.
The show will be on display
HANNAH STOUFFER IN CONVERSATION WITH ANTLER GALLERY
Hannah Stoufer: Shrouds & Sinew is a three-person show featuring Allison
Sommers, Stacey Rozich, and Morgaine Faye that is currently on display at your
gallery in Portland (June 26thJuly 2013). Tell me about the reasoning behind
putting this trio of artists together in one show.
Antler Gallery: The process is interesting in that the show developed over an
extended period of time. We wanted to show Morgaines work alongside someone
who would both compliment and contrast her style. Staceys use of vibrant pattern
is reected in Morgaines more ethereal scenes, but the subject matter and
execution is very diferent. Allisons work ofered something very distinctive with her
disgustingly beautiful pieces, adding a darker context to the show as a whole.
Do you often combine artists whose work shows a visible juxtaposition from the other?
Were nding its a ne line to tread. The shows require strands of similarity that clearly
connect the artists visual language. Otherwise it is hard to have a coherent interaction
between the works, especially in a small space like ours. On the other hand, putting
artists together who so clearly have the same style gets boring. Two and three person
shows are a relatively new thing for us, but as curators we enjoy the challenges of
putting them together and have a lot planned for the year ahead.
Its not often that you see a group show of females that isnt called out as such
AS MUCH AS THEIR SIMILARITIES,
CHOSEN FOR THE DIFFERENCES
IN THEIR WORK
THROUGH JULY, 2013
AUGUST 2013 103 JUXTAPOZ.COM
specically, and I personally really appreciate
that. Did it cross your mind when putting the
show together?
No. We choose the artists based on the work they
make and how they act as people. All three are
incredibly talented, make astoundingly good art
and are a joy to interact with. The idea of gender as
some kind of gimmick, or that women can only be
considered valuable as artists if you can sell them
as other is not an idea we subscribe to, the fact it
happens so often is troubling. Were certain each,
if not all, of these artists would have turned down
the idea if wed chosen to approach them in that way,
and rightly so. Artists deserve respect solely for the
caliber of their work.
Tell me a little bit about the genesis of your gallery.
When it was established, your aspirations, and life
before opening Antler.
We opened Antler in January 2012 because we were
tired of seeing galleries in the neighborhood close.
We decided that opening our own spot would be more
productive than complaining about it. Now, were lucky
to be part of a very supportive community on Alberta
Street. Our biggest aspiration is to nurture a warm and
welcoming venue to view art. We want people to come
in and feel like they can have a discussion with us
about the work on our walls.
For more information on Antler Gallery, visit AntlerPDX.com
JUXTAPOZ.COM / ANTLER-GALLERY
HANNAH STOUFFER IN
CONVERSATION WITH
ALLISON SOMMERS,
STACEY ROZICH AND
MORGAINE FAYE
Hannah Stoufer: Where are
you right now?
Allison Sommers: In my studio
in Brooklyn, New York.
Morgaine Faye: I am at my
desk, in my studio in Portland,
Oregon. Its raining outside,
and my 14 year-old miniature
pinscher, Wolfgang, is asleep and snoring at my feet.
Stacey Rozich: Sitting in my apartment near downtown
Seattle, Washington. Nothing but the sound of my
refrigerator whirring, the freeway whooshing by and
my cat wrestling with his scratching post.
Were there certain aspects of your respective
childhoods that have inuenced the work you
create today?
AS: I grew up as an only child and lived largely within
pretend worlds, which probably goes a long way
towards art-working insofar as the real can exist as
convincingly in the imagined as it can in the physical
world for me. I also had a ravenous curiosity about
the natural world, with little inborn revulsion for the
icky. My fascination with gutty things, for instance,
is borne less out of a morbidity than from an
irrepressible interest.
MF: I feel lucky to have grown up in Santa Cruz,
THE IDEA OF GENDER AS SOME KIND OF
GIMMICK, OR THAT WOMEN CAN ONLY
BE CONSIDERED VALUABLE AS ARTISTS
IF YOU CAN SELL THEM AS OTHER
IS NOT AN IDEA WE SUBSCRIBE TO
opposite page
And Thats Why
Tasmanian Tigers Are
Banned From Westminster
by Stacey Rozich
2013
STACEY ROZICH
BEYOND THE STORY
My signature looks just like my
mothers, from forging it so many times
when I was younger.
I have a history of adventurous
sleepwalking.
Im the tallest female on both sides of
my family.
SHROUDS & SINEW: ANTLER GALLERY
104 JUXTAPOZ
California, which is such a
unique and beautiful place.
My grandmother owns a
stretch of land in the mountains
there, and, as a kid I spent
many weekends getting lost,
collecting bugs, catching
snakes and crawdads, and
nding bones and other
treasures hidden in the woods.
I wasnt totally unsupervised,
but it was denitely a time when
I remember feeling very free
and inspired to explore the
landscape and experiment by myself and use
my imagination.
SR: I played alone a lotI was immersed in my own
imagination most of the time. Im really glad I had
parents that were pretty hands-of and didnt force me
to join any clubs or sports. I loved making up stories
and drawing them out like picture books, and then
comic books when I got a little older. I was also a huge
sponge for television. I think since my mother was
raised by TV she didnt put too many restrictions on
it for my sister and I. Narrative storytelling has always
been a huge part of how I communicate and its the
foundation for all my work today.
At what point did you decide to become an artist?
Do you remember your rst encounter with art?
AS: Ive always been one, I just needed a little time to
strip of the other bits of me that occluded artist-ness.
MF: Im not sure about my rst encounter with art
specically. I have been drawing for a very long time,
but I would say that it is only recently that I have felt
comfortable calling myself an artist. I feel that pursuing
art was more of a natural attraction than a conscious
decision.
SR: There was never any deciding moment, like the
heavens opening and an almighty light shines down.
One time in kindergarten I drew a many-limbed
leopard and everyone praised me to no end about it.
I think that might have been the closest I ever got to
a dening feeling of So this is how its gonna be
and then I kept at it.
What do you imagine you would have turned to if not
the creative eld?
AS: Animal husbandry of one sort or another.
MF: I always joke that if I wasnt making art I would
want to be a taxidermist or jeweler, or Id want to
host wildlife documentaries. Im really fascinated
by the natural sciences, world history, and cultural
anthropology. I think if I wasnt making art, I should like
to work in a museum, or perhaps start a cult.
SR: Ive thought that many times, like what kind of
person would I be if I got a more constructive and
stable job? What if i went to a real college? I probably
would have done something in writing, or worse
theater. I think Ive always been doomed to do
something creatively fullling. I would probably wilt
like a ower and become a huge jerk if I got an ofce
job and crunched numbers all day.
How would you describe your work to someone who
has never seen it?
AS: I struggle terribly with that. At cocktail parties,
I usually start with Ah there are dogs and
guts and trail of in the hopes that theyll volunteer
something helpful about what I might, in fact, do.
MF: I would say my work has ethereal, dream-like
qualities with dark visceral undertones. I think that
the bright saturated colors and decorative quality of
my work makes it approachable, but ultimately my
WHAT IF I WENT TO A REAL COLLEGE?
I PROBABLY WOULD HAVE DONE
SOMETHING IN WRITING,
OR WORSE: THEATER.
opposite page
Ainsel
by Morgaine Faye
Ink, gouche, colored pencil,
and spray paint on wood
18" x 24"
2012
MORGAINE FAYE
BEYOND THE STORY
My mother named me after a witch.
I am fascinated by mummies.
I have a bionic leg.
SHROUDS & SINEW: ANTLER GALLERY
AUGUST 2013 107 JUXTAPOZ.COM
Merry Widow
by Allison Sommers
Gouache on illustration board
7" x 9.25"
2013
ALLISON SOMMERS
BEYOND THE STORY
Im a synaesthete.
I have a medieval history degree.
Im an incorrigible magpie and
trash-picker.
intention is to make people feel a little uncomfortable.
My subjects typically include natural forms in states of
decay, animals, gures, and iconic imagery.
SR: I do this all the time and it never fails to give me
a tiny heart attack every time. It feels so exposed
telling a stranger about something as personal as your
artwork. Now its my full-time career, I have to talk
about it all the time. Saying I make art, Im an artist
is the equivalent of saying I smoke weed and take
improv classes to most people. Now I just explain that
I work in folkloric vignettes that focus on pop culture,
textiles and patternand its all done in watercolor.
What color are you most identifying with right now?
AS: Always greys grey-green...
SR: Greige. A combo of beige and gray. You wouldnt
think so looking at my work which is so full of eye-
numbing color. But that seemingly benign non-shade
is so interesting to me. Its the antedote to my need to
splash six diferent colors on something.
What is your preferred medium?
AS: Gouache, with graphite as a very close second.
MF: I love to work with a ton of diferent media.
When Im making 2D images I generally use pencil,
gouache, ink, acrylic, and collage. Experimentation is
a central part of my studio practice, but I expect that
my preferred methods will always be changing.
SR: Watercolor, always and forever. I feel like I could
use it in my sleep, its second nature.
What direction do you see your work going in?
AS: Larger! Ive set aside a few months this year to
do Big Works, or at least Big Ideas. My work has been
changing dramatically over the past year or two as
SHROUDS & SINEW: ANTLER GALLERY
108 JUXTAPOZ
Indee Fixe
by Allison Sommers
Mixed media on paper
41 cm x 31 cm
2013
I have been thinking harder about what it is I want to
do with art.
MF: Similar to how my mediums are constantly
changing, I see my work doing the same. I think it
evolves and shifts focus as I do, and I always try to
challenge myself when I feel that Im getting stuck in
my comfort-zone. Id really like to make much larger
work and try my hand at painting murals...
SR: Always forward, never backward. I see it going in
a range of diferent mediums now. Im obsessed with
usability: I want my work to be on housewares and
textiles, things you can take with you and look at and
get dirty.
Did you consider the work of the other two artists
involved or the title of the show, Shrouds & Sinew,
when making or choosing work to exhibit?
MF: I was denitely trying to imagine what it all might
look like together in the end. Stacey and Allison
both have such unique visions and outstanding work.
I wanted my work to present the same strength
and authenticity.
SR: Ostensibly no, but the fact we all work in similar
realms of animals and symbolism will help tie them all
together, however loosely.
Do you have any rituals when it comes to making art?
What are they?
AS: I split into two. Theres the artist Allison, and the
school bus driver Allison, whos ornery and hollers
at me when my attention wanders. SIT DOWN AND
SHUT UP.
MF: Often my art-making rituals are my morning rituals:
Cofee rst, put on a record, make a to-do list. I like to
start with a clean space. Ill often do a quick sweep of
my work surfaces before I sit down at my desk. And I
AUGUST 2013 109 JUXTAPOZ.COM
SAYING I MAKE ART, IM AN ARTIST IS THE
EQUIVALENT OF SAYING I SMOKE WEED AND TAKE
IMPROV CLASSES TO MOST PEOPLE.
always maintain some noise or music playing.
SR: I like to look back at all the stuf Ive collected:
books, dusty mascot heads, masks, or even image
links. I like to look at my research materials to help
mold whatever situation I have cooking in my brain.
I also became a huge devotee to the Stuf You Should
Know podcasts. Knowledge is power.
What do you listen to while you work and at what volume?
AS: It varies. I have been trying to limit my word diet
(podcasts etc.) so that my mind can wander a little more
aimlessly. I have been listening to a lot of minimalist
stuf as loudly as I can stand.
MF: When Im painting, it has to be something driving
and upbeat like classic soul, or golden age hip-hop.
Sharon Jones always knows how to put me in the mood.
SR: Podcasts, and NPR. For music, its always changing.
Junips new album has been on heavy repeat, Frank
Ocean, Com Truise, Smog, Fleetwood Mac. Its a varied
group; I have musical ADD.
Tell me ve things that you cant live without.
AS: Sketchbooks. Thats actually all I can come up with.
Everything else is negotiable, unless were talking
biological necessities.
MF: Home-made breakfast burritos, my hands,
Wolfgang, sunshine and love.
SR: Pen and paper, Julius the tuxedo cat, snacks,
humor and Sam Macon.
Vices, indulgences?
SR: Ritz Bits cheese crackers, sleeping late, air drying
on my bed after a shower while looking at Thai beauty
queens showing of their manicures on Instagram.
MF: Sex, Drugs, Wu Tang Clan.
AS: Oh, no, of course not. Im pious as a damned saint.
For more information on Allison Sommers,
visit AllisonSommers.Typepad.com
For more information on Morgaine Faye,
visit MorgaineFaye.com
For more information on Stacey Rozich,
visit StaceyRozich.com
JUXTAPOZ.COM / ALLISON-SOMMERS
JUXTAPOZ.COM / MORGAINE-FAYE
JUXTAPOZ.COM / STACEY-ROZICH
This Can Only
End Badly
by Stacey Rozich
2013
PORTLAND,
OREGON
SHROUDS & SINEW: ANTLER GALLERY
AUGUST 2013 111 JUXTAPOZ.COM
JULIE NORD
Interview by KRISTIN FARR Portrait by SOREN SOLKAER STARBIRD
112
She isolates tense and suspenseful moments,
summoning feelings of unease, and distilling those feelings
into puzzling vignettes, working persistently to leave clues for
which there is no case to solve. If you want to know what
her work is about, youre on your own. The meaning
is up to you and your psyche.
Kristin Farr: You must be thinking a lot about good and evil forces in your work.
Julie Nord: Its pretty much a plague. If Im making something very sweet, Ill have to
make something to contradict it. Or if a picture gets too scary, I have to make a stupid
little bird with a scarf blowing bubbles. Its a little bit like playing chess with yourself. If it
gets too much on one side, I have to do something that moves it toward the other side.
Does living in Copenhagen inuence your work?
Its hard to say. For many years I was traveling through the third world, but more and
more, I think my images have a Scandinavian feel to them. My colors were much stronger
and vivid, but now they are more calm and laid back, and maybe more Scandinavian.
Where have you traveled?
When I was young, I traveled to Africa for a couple of years altogether, and Ive been
to India, Tibet and other places, but mostly Africa.
I noticed the cultural inuence in the pattern of the blob character that often shows
up in your work. Lets talk about the blobs.
Ive been interested in outsider art for many years, and especially compulsive
patterns. In the beginning, I made them as a contrast to these very polished child
LITTLE SECRETS AND SYMBOLS
THAT APPEAR TO LEAD TO A DESTINATION,
BUT THEY DONT.
JULIE NORD LEAVES TRAILS
OF BREADCRUMBS
THAT WIND THROUGH HER WORK
AUGUST 2013 113 JUXTAPOZ.COM
images. A lot of my work is very controlled, and its
important to have these slips of something that is out of
control. It can be ink splotches, big white spaces, or the
blobs of patterns. I dont plan them, I just ow with it.
You get lost when you do it,
and its very hard to leave any space. You have to ll
it up, and its a mesmerizing way of working. It can be
pretty hard to nd home afterwards because you make
these small patterns in your head; and if you sit with
them for six or seven hours, you get really weird, but in
a nice way.
Tell me about your upcoming show at the
Kunsten Museum.
Its in November, and will be traveling to Copenhagen
afterwards. It has a family album theme. So far, the title
is Just Like Home, and Im building three rooms where
the installation part will be quite important. Im trying to
design some wallpapers and carpets, so you actually
enter my work instead of just looking at it. Im getting
closer to making some sounds for the rooms. I really
want you to be swallowed up by my work. It gets more
and more important for me to drag the viewer into the
works instead of having this distance that gallery and
museum walls give.
You mentioned the family theme, and I noticed that
recurring words used to describe your work are
childhood, family, identity, and reality.
Im questioning reality, and Im using pictures that
we normally associate with a safe zone, like pictures
from childhood and family, Romantic era childrens
book illustrations and cute animals. Thats my base.
Of course, theyre also playing with the whole aspect
of innocense, and theres always a blur between reality
and illusion. Sometimes these children are not so
innocent, so theres always some insecurity involved.
Do animals play specic roles in the pictures?
In one work, an animal can be very cute and
comforting. And in another one, it gives you this feeling
of impending doom, like something is about to happen,
because animals are supposed to feel these things
a little bit before people do. They give this nervous
energy and emotional instability, but theyre rarely the
main characters.
What are your thoughts on anthropomorphized animals?
I have a weird passion for everything that is really
absurd and perverted, things like animals driving
carsits pretty mad! I like to put these kinds of animals
in a picture where you also see more natural-looking
animals, just to have this change in reality, and make
it look somehow normal that theyre standing beside
each other.
Lets talk about the identity aspect in your new work.
Ive been doing family pictures for two years now, and
they consist of three things: identity, patterns, and the
empty space or white paper. Its interesting to see what
it takes to create this feeling of identity. This person
may only exist because of their hair and clothes and the
wallpaper behind them. I like to make the surroundings
create the persons character. Its an examination of
where identity starts. And in family patterns there is
also this construction of who you are.
Do you obscure faces in your work for reasons other
than leaving things open for interpretation?
Thats part of it, but also if youve seen photos where
people have scratched the eyes out, or cut someone
out of the picture, that tells you a storythe mystery of
disappearing people. Identity is not a very steady thing,
so thats why its funny to play with some nely drawn
faces together with faces that dont exist, or faces that
are just blobs.
What are some weird aspects of families that
interest you?
I think everybody has known the feeling of being in a
familyespecially when youre young or a teenager
and feeling totally out of it, like youre from a diferent
planet, or they are. Youre supposed to have things in
common with them, but it just seems like an illusion.
To make it simple, I guess its based on that feeling
I HAVE A WEIRD PASSION FOR EVERYTHING THAT
IS REALLY ABSURD AND PERVERTED, THINGS LIKE
ANIMALS DRIVING CARSITS PRETTY MAD!
Jonas
Watercolor, felt-tip pen and
ink on paper
76 cm x 57 cm
2012
JULIE NORD
114 JUXTAPOZ
of strangeness and identity confusion, which is very
strong when youre a teenager, but still follows all of us.
With my newer work, I needed to nd a simpler frame.
I got tired of all the storytelling and diferent elements,
so I tried to narrow it down to just identity, patterns,
and empty space to see how I could explore my theme
in a more simple way, and dig a bit deeper.
It seems like you became more focused on empty
space in the last couple of years.
Its coming back a bit now, in the faces. Its so nice to
leave the face open with no eyes and mouth. For a
while, the empty spaces were overridden by the blobs,
which are somehow the same as blank space because
there is no narration or certain meaning.
Im so fascinated by our need to nd meaning and
understand things. Im interested in creating a new
confusion, and I think the empty space is the base
from where all these stories and meanings are derived.
Its just as important to leave the white space open,
as it is to put down all the meanings and gures.
Lets talk more about your intricate patterns.
Im very interested in wallpapers from history, and our
concrete need for patterns. In a philosophical way,
we put things in order and create repetitions, enforcing
ourselves in patterns and routines all the time as a way
to have a xed identity.
Some people approach timelessness by non-referential,
but you do it by combining references from so many
diferent eras.
Its also because I think patterns are like music.
For instance, my grandmother had certain wallpaper,
and Im sure if I entered a room with the same
wallpaper, I could almost be able to smell the food
she made. Patterns are full of emotion in a very
subconscious way, just like sounds, music, and smells.
Maybe you dont remember how a certain shirt looked,
but the pattern is stuck inside you somehow. If you see
Siblings
Watercolor, felt-tip pen and
ink on paper
57 cm x 76 cm
2013
116 JUXTAPOZ
patterns from the Romantic era, it imparts a feeling of
innocence and the good old times, even if you werent
there. It goes into your brain without you really noticing
what its doing.
Are you working from photographs with your
family portraits?
Yes, Im working from photographs of people I dont
know. Its quite important that I have no relation
to these people so that I can change them. I might
take the eyes from one person, and so on, like
Dr. Frankenstein. I make up characters, and I get
to know these people while Im working on them.
I dont know their story, but I get a feeling of what
might have happened to them, and I make up a name.
If you nd an old photo album from a family you
dont know, you start thinking about stories, like,
Why does she look so sad? Or What a coy smile he
has. You make up these stories, which are probably
somehow related to your own family. Theyre strangers,
but it gets sort of voyeuristic. I get to know them, and
I spend maybe two weeks with this person, and they
somehow come to life, even though I dont know them
like my own family. But, of course, I put myself into it.
Every so often the faces look like me even though
I dont want them to. I like that I dont know them.
I need that distance to feel free when I work.
Tell me about your own family.
Im sorry to say its not that unusual. Maybe thats why
I have to make these pictures! If I go back into my family
history, it does have its share of secrets: shameful
events nobody wants to talk about, strange deaths,
restless outsiders and abandoned children... If you
look close enough theres always something hidden
in the cupboards.
What are some of your darker inuences?
Im really into horror movies because of this very banal
thing where you start with a happy familya boy, a girl,
above
Fever
Watercolour and felt-tip pen
on paper.
115 cm x 185 cm
2010
next spread
Sance
Watercolor and felt-tip pen
on paper
76 cm x 57 cm
2008
AUGUST 2013 117 JUXTAPOZ.COM
EVERY SO OFTEN THE FACES LOOK LIKE
ME EVEN THOUGH I DONT WANT THEM TO.
I LIKE THAT I DONT KNOW THEM.
a golden retriever, and a mother and father in a nice
houseand you just know its going to fall apart. In
horror movies, its always evil that pulls things apart
thats how we see it. If you have a steady system or
pattern that actually works, then it must be evil.
Im very interested in the building up of suspense:
how a window or a cat can be made to seem really
spooky or scary. I think these small things in horror
movies that make you fear something is going to
happen are really intriguing. Im never interested
in the end when the monster is actually coming,
but the whole buildup part is really inspiring.
Theres a certain amount of humor that plays with
your expectations of good and evil.
Do you think about nightmares when youre working?
Yes, in the sense of how reality starts to melt or break
down. Thats always a nightmarish feeling because you
cant control it. That aspect fascinates me, if I totally
understand the work Ive done, then its not working;
its not good. If its not disturbing me a little bit and
keeping me wondering, then its just not fullled.
I think thats what nightmares and dreams are like.
You dont really understand them, and the narration
is always abrupt and changing very quickly.
In your earlier work, the compositions were really full,
and you seemed to use a lot of symbols or secrets.
Through the years, Ive been building a whole toolbox
of gures, and maybe by chance, they have shown up
in one work or another. For instance, a helicopter has
been used quite a lot. In some of the works, its odd
because they seem old fashioned and nostalgic,
and a helicopter makes some kind of disturbance
because it really doesnt belong, and it obscures things
a bit. Then maybe a few years later, Ill put it in a shirt
pattern, so its like a little recurring friend. There are
always these little parts where you know a needle or
a match is going to be really important later on in the
story. A secret is a good word for it. They have to have
this meaning that youre trying to nd, especially if you
go into a big exhibition, and you see these symbols
used in diferent works in diferent ways.
But then theres nothing to gure out.
No. Theres no ending or solution. There are just a
lot of clues. This Rorschach thing is really important
for me. You feel like there has to be some meaning,
and you really want to nd it. I get a lot of emails from
people who have been reading diferent things into my
work because it feels just like their lives, or something
theyve been doing. Its really important for me that the
work is open to interpretation. And at the same time,
there are all these clues, so you feel you have to nd
out what its about. But its not anything targeted.
Its really up to you.
For more information about Julie Nord, visit JulieNord.dk
JUXTAPOZ.COM / JULIE-NORD
BEYOND THE STORY
She grew up in the Danish countryside.
If she were a horror movie character, she says she would be Carrie.
There is an experimental documentary about her called Fever.
COPENHAGEN,
DENMARK
JULIE NORD
AUGUST 2013 119 JUXTAPOZ.COM
JUXTAPOZ 5-PANEL SHOP. JUXTAPOZ.COM
Ian Johnson photo by Joe Brook
CODY HUDSON
A CITY GUIDE TO CHICAGO
GOING TO CHICAGO IN AUGUST FOR LOLLAPALOOZA? We asked Cody Hudson, artist
behind Struggle Inc, and partner of Chicago restaurants Longman & Eagle and the brand new
Parsons Chicken & Fish about his best tips for seeing the Windy City. Im a bit of an old man and
tend to not get out much, Hudson told us. If I do I usually go to the same ten spots I have always
gone to. It helps simplify my life a bit. So this is a list of some of the places that make me feel at home.
BEER & WHISKEY
I have been known to drink an Old Style with a little
Old Grand Dad in between. After a long day in the
studio you sometimes need a shot for the walk
home. My old watering hole when we lived in Pilsen
was the Skylark. It was like Cheers but for grumpy
artists. Also on that side of town is Marias Packaged
Goods and Community Bar. A slashie (half liquor
store / half bar) that Ed Marszewski took over from
his mom after she ran it for years. If running the bar
wasnt enough, Edmar also publishes Proximity art
magazine, Mash Tun Craft Beer journal and Lumpen
(now on its 120th issue).
Other spots to hit on your way back north:
Rainbo Club
Bob Inn
TRAVEL INSIDER
122 JUXTAPOZ
FOOD
Lula Caf
Ive been eating here for years and always enjoy
the food, art and people in the space. They have
an amazing painting of Camron wearing a pink
fur coat by Alex Cohen up now and the Monday
Farm dinners are as great as that is.
Hot Dougs
I could give a shit about a deep-dish pizza, but
its hard to talk Chicago without talking Hot
Dogs. There are a lot of classic spots in every
neighborhood but I tend to hit up Hot Dougs when
I can. People go for the specialty sausages like
rattlesnake and Foie gras but I usually stick to the
classics: Char Dog with everything but no onions.
Other spots I like to hit up on the regular include:
Mannys Cafeteria & Delicatessen
The Publican
Bang Bang Pie Shop
Phils Last Stand
JP Graziano
Avec
GT Fish & Oyster
opposite page bottom
Marias
Packaged Goods
top left
Lulu Cafe
mid left
Hot Dougs
bottom left
Mannys Cafeteria &
Delicatessen
bottom right
Skylark
All photography by
Clayton Hauck
JUXTAPOZ.COM AUGUST 2013 123
AROUND TOWN
Sometimes you need to end a hectic week with a good haircut and
a straight razor shave. The spot I always go to is Joes Barbershop.
In business since 1968, the father/son team of Joe Caccavella
Sr. and Jr. will give you a good cut and share some good stories
(and maybe some barber shop wine if you are lucky). If a razor
scrapping up against your face isnt enough to wake you up,
you can head down to Great Lakes Tattoo where the Nick Colella,
Mario Desa and crew will work some classic no nonsense ink into
your skin.
Some other great spots to check out:
Quimbys Books
Saint Alfred
Independence
Penelopes
Uprise
For more information about Cody Hudson, visit Struggleinc.com.
His restaurants are managed by his company, Land & Sea Dept.
Lollapalooza runs from August 24, 2013 at Grant Park.
JUXTAPOZ.COM / CODY-HUDSON
ART
A lot of people go to school here and leave for better pastures but Im originally
from one hour north in Kenosha, WI. I am a Midwesterner at heart and my
daughter Birdie was born here, so I think Ill end up staying here for the long
haul. Ive been showing work with Andrew Rafacz Gallery in the West Loop
for almost ten years. We have a show of new drawings opening July 27,
titled Some Times I Feel Like Shit.
The MCA has been putting on some great shows recently including Paul
Cowan, Jason Lazarus, Rashid Johnson and Scott Reeder. And Chicago has a
number of interesting Public Art piecesCalders Flamingo from 1974 and Jean
Dubufets Monument with Standing Beast are some good ones to start with.
Other spaces I like to visit:
Document
Western Exhibitions
Kavi Gupta
Volume Gallery
Paris London Hong Kong
Roots and Culture
Devening Projects + Editions
The Marsheld Project
I COULD GIVE A SHIT ABOUT A DEEP-DISH PIZZA, BUT ITS
HARD TO TALK CHICAGO WITHOUT TALKING HOT DOGS.
top left
Flamingo
by Alexander Calder
top right
Volume Gallery
bottom
Joes Barber Shop
124 JUXTAPOZ
TRAVEL INSIDER
WHEN WE FIRST covered Naughty Dogs The Last Of
Us during E3 2012, we never expected it would exceed our
expectations. This is a new breed of video game that underplays
action and speed for story and emotion. Rather than follow along
with a script, the player advances the plot with every action.
Within the rst ten minutes of playing The Last of Us, I found myself
enthralled. I knew the ctitious relationship with my characters
in-game daughter wasnt real, but that didnt make me feel any more
condent when attempting to protect her. This isnt kill-everything-
in-sight aggression, but more eeing-for-our-lives as we outwit
the horde. For a story based on zombies and the post-apocalyptic
planet, The Last of Us is magnicent at vividly portraying the
relationships we might have in the face of ultimate uncertainty and
fear instead of common video game rotation of horric after horric
act. Advancing into the game, new relationships develop with your
survival crew. Cognizant of your control of the action, the process
becomes more exhilarating like shifting into concentrated autopilot,
completing tasks as if youre breathing in real life.
I dont know if this style of game could be experienced in any
other genre, but developers should take notes on this The Last
of Us, where the horror/zombie thriller supersedes anticipation. If
the video game community wants to outgrow the stigma of being
childs play, this is the style of game to emulate. Nick Lattner
Developed by Naughty Dog, published by Sony, and available on the PS3.
For more information, visit TheLastOfUs.com
THE LAST OF US
IT HURTS TO JUST CALL THIS A GAME
LEFT 4 DEAD SERIES
Considered one of the best
zombie series games ever, these
brought the team atmosphere into
gaming but lacked any sense of
caring about the characters.
CALL OF DUTY:
BLACK OPS 2 ZOMBIE MODE
Considered one of the most
exhilirating Gameplay modes ever,
Black Ops 2 brought an onslaught
of never-ending zombies and new
areas to battle them in. However, it
lacked real environmental appeal.
FALLOUT SERIES
Although a good story, as well
as a great series of ghting
sequences, the cinematic quality
was a bit lacking.
MORE SUPER RESPECTABLE GAMES
BEAUTIFUL BITS
126 JUXTAPOZ
BOOKS
TITLES JUXTAPOZ IS READING NOW
NUDITY TODAY: REVEALING WORKS BY
EMERGING PHOTOGRAPHERS edited by JESSE PEARSON
It seems more so than ever, people just like getting naked. Somehow, the prevailing culture of
social networking has already broken down our separation anxieties and barriers. Im pretty sure
that most of us have exposed more of ourselves, either emotionally or physically, than we would
have to a greater audience of friends, say, 10 years ago. So, what is next after posting a soliloquy
about your break up on Facebook? You get naked, maybe in public, have sex, take a shower,
or pee on your Godzilla toy and take a picture doing it. Its the next frontier of exhibitionism,
the next level of social interaction and intimacy in our attempt to usurp the sterility of mobile
communication. Nudity Today captures this new youth movement, taking a group of contemporary
photographers and their boobs, butts, pussies, and dicks, and showcasing them in one long
cinematic presentation. From the established names of Tim Barber, Aurel Schmidt, and Sandy Kim to
some of our favorites like Jerry Hsu and Lele Saveri, Nudity Today is intimate, voyeuristic, and bold.
PictureBox, PictureBoxInc.com Artbook D.A.P., ArtBook.com
THE PURPLE BOOK by ANGUS HYLAND & ANGHARAD LEWIS
And now from the complete opposite end of the spectrum in the depiction
of sensuality and sexuality that we see in Nudity Today: The Purple Book is an
ambrosial compilation and curation of the sensual and erotic arts, taking both
the overt and subtle sexual details of contemporary art and pairing them with the
stories and poems of Poe, Joyce, and Bataille. The works of Vania Zouravliov, Jules
Julien, Miss Van, Tim Hon Hung Lee, Conrad Roset, and others, each with their own
narrative artistic styles, pair harmoniously with some of the great literary gures of
the 19th and 20th centuries. As Angus Hyland notes in the introduction, Many of the
artists featured here share both a particular aesthetic vision and a commitment to the
hand-drawn-image such intensity results in a powerful fetishism. There may not be
a better compilation of erotica all year. A must-have.
Laurence King Publishing, LaurenceKing.com
JOHN VAN HAMERSVELD: FIFTY YEARS OF GRAPHIC DESIGN
The fact that Van Hamersvelds most famous design, the iconic poster for the lm, Endless
Summer, is not on the cover of this book is both a blessing and a curse. It is one of those designs
that exceed the artists hands, almost too perfect to have been created by one person on a
commercial assignment. Thousands of dorm rooms and rip-ofs later, Gingko Press has now given
the entire body of work of John Van Hamersveld a closer look. John Van Hamersveld: Fifty Years
of Graphic Design looks not only at Endless Summer, but album cover works that resulted in The
Beatles Magical Mystery Tour, the Rolling Stones Exile on Main St., and the Grateful Deads
Skeletons in the Closet, as well as concert posters, logo designs, and poster art that have dened
California design for the past half century. Now that the original Endless Summer poster is in
the collection of LACMA and recognized as a truly original, historic West Coast art piece, Van
Hamersvelds full career is now rightly put into context.
Gingko Press, GingkoPress.com
REVIEWS
128 JUXTAPOZ
WALL TO WALL IN HONG KONG
CONVERSE BRINGS THEIR INTERNATIONAL MURAL
PROGRAM TO A SURGING CITY
Story by EVAN PRICCO
THE RECENT EMERGENCE of Hong
Kong as an art capital was in the forecast, as
the shift and focus of the worlds economic
attention has been focusing toward Asia for
years. A new group of blue chip art collectors
has always symbolized powerful spending
and egos in equal measure. When the worlds
leading art fair, Art Basel, bought ART Hong
Kong in 2011 and premiered the HK edition
in May 2013, the question for most wasnt
whether the fair would succeed, but how
would the city would react and contribute
to the overall art experience. Public art has
thrived at Art Basel Miami in recent years,
almost overwhelming the south Florida city each
December. Yet the immutable permanence of
those murals sustains the creative juices
in the city long after the fair leaves.
This May, Converse curated a group of
international artist to contribute to their
public art program, Wall to Wall, ushering
the already robust art gallery and fair
schedules out into public view. For this Wall
to Wall, Brazils Alex Hornest, Berlin-based
Buf Diss, French-born, Hong Kong-based,
Charles Munka, and Shenzen, and Chinas
IDT Crew all took
to diferent corners
of the mega-city to
create site-specic
works. Not only
was the program
unprecedented
in the city itself,
but Converses Asia-based team was able to
secure public spaces that intersected with
the daily lives of Hong Kong residents as
opposed to typical tourist hotspots.
The location was great, Buf Diss told us.
THE QUESTION FOR MOST WASNT
WHETHER THE FAIR WOULD SUCCEED,
BUT HOW WOULD THE CITY REACT
EVENT
130 JUXTAPOZ
opposite page and right
CHARLES MUNKAs
mixed media
canvas grabbed
center stage
right in the heart
of Hong Kongs
commercial district
above and left
IDT CREW
took to the emerging
and trendy
neighborhood of
Sheung Wan
JUXTAPOZ.COM AUGUST 2013 131
All photography by
Jonathan Leijonhufvud
Courtesy of Converse
Just to the left, ferries were docking, and further
back, freighters were passing. The contrast between
the bustling harbor and the dead ship was ideal.
What I liked was that lots of people stopped and
touched the piece as it went up. I really appreciated
that directnessthe tape lends itself to it.
This magazine has long championed public art as an
active ingredient in art fair programs, such as murals
or other outdoor projects, that interact and include
residents of the city. As more and more fairs benet
from the patronage of both locals and guests, projects
such as Wall to Wall allow that creative spark to stoke
an urban center for the 51 weeks of the year that dont
see a major burst of art tourism. We saw this system
thrive in Miami, and it looks like Hong Kong is ready
to carry the torch.
For more information, visit ArtBasel.com/Hong-Kong
JUXTAPOZ.COM / HONG-KONG
bottom left and right
BUFF DISS
outstanding
nautical themed,
masking tape
mural provided
prominent entry to
the bustling Star
Ferry terminal on
Pier 7
top left and right
ALEX HORNESTs
playful characters
settled over a
market in Tsuen
Wan away from the
city center
EVENT
132 JUXTAPOZ
AUGUST 2013
SUMMER PRODUCTS
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lettering and UNDRCRWNs tongue-in-cheek humor.
ShopUndrcrwn.com, Ebbets.com
TODD JAMES X PUMA 2013
FALL/WINTER CAPSULE COLLECTION
In our skewed opinion, there arent many artists making
such riveting work as Todd James. Now, James has
teamed up with PUMA for a capsule collection that
slaps his playful cartoony colors onto a few tees and
hooded and crewneck sweatshirts. It may not be a
Somali pirate, but we will take a REAS panther any day.
Puma.com
TOPO DESIGNS BAG COLLECTION
At Juxtapoz, we are constantly moving about the
country on planes, trains, and automobiles, always
looking for good bags and carry-alls to transport our
gear. Colorado-based Topo Designs has a collection
of fantastic Made in the USA backpacks, dufels,
laptop and iPad sleeves in a variety of color ways that
not only hold up, but are some of the most functional
and smartly designed on the market.
TopoDesigns.com
STYLE
134 JUXTAPOZ
AGENDASHOW.COM
TORTURE SOUNDS INCREDIBLE
THE ELEGANT NOISE OF CONFUSION
LAST MONTH, my buddy Brian Willey
asked me if Id consider displaying a
sculpture in the front window of Okay
Mountaina gallery I co-own in Austin, TX.
Brian and his business partner, Thao Votang,
run an art space (also in Austin) called Tiny
Park. They were preparing to install a show
of work by Joel Ross and Jason Creps and
wanted to secure an of-site location to install
a sculpture by the duo. Okay Mountain didnt
have anything going on at the time, so it
seemed like an easy enough thing to do.
Much of Ross and Creps work are text-based
sculptural pieces installed in public spaces
and subsequently documented in the form
of dramatic, large-scale photographs.
The sculptures are then left behind to endure
the elements, including human interactions,
that may befall upon them. The piece that
we installed at Okay Mountain difered in the
sense that it would be located behind glass,
so direct, physical interaction would
be not be an option. Or at least thats what
we thought.
Ross and Creps sculptures play with
language and construct environments in
which the viewer experiences the pieces
based upon their own personal history.
Much of the work
is intentionally
ambiguous, but often
loaded with words or
phrases that are meant
to push the viewer out
of their comfort zone.
For example, the piece
we displayed at Okay
Mountain was a large neon sign that read,
TORTURE SOUNDS INCREDIBLE. Note the
fact that the word incredible was used versus
a word that infers that torture is something
positivethe denition of incredible being,
impossible or difcult to believe. The piece,
in my opinion, should easily be read as an
anti-torture message, but apparently it could
also be misconstrued as a sign promoting
torturejudging by the cinder block that
was hurled through our front window late
one night.
As an artist, all you can hope to do with your
work is elicit a reaction, positive or negative,
from somebody. The worst-case scenario
is that absolutely nobody gives a shit about
your output. Given that, Id say that Joel and
Jason knocked a fuckin home run with their
torture sculpture. I love imagining how mad
(and most likely drunk) the person was who
threw the brick through our front window.
Trust me, Ive felt that anger. Although its
usually about some injustice in the world,
not directed at a small, artist-run gallery
barely covering its bills and only trying
to inject some critical discourse into its
community. But I get ityou no like!
You mad! You smash! Eloquent critique.
In the future, shall we try to exhibit
artwork that everybody can agree is
non-confrontational? Watercolor-bluebonnet
paintings are pretty soothing, yeah?
Also, if anybody has any information
about the culprit, please let us know.
Wed enjoy meeting the critic in person;
they seem pretty cool. Wed love the
opportunity to visit their house and critique
their personal art collection. Well bring the
cinder blocks. Michael Sieben
Photograph by Jason Creps
IT COULD ALSO BE MISCONSTRUED AS A SIGN
PROMOTING TORTUREJUDGING BY THE
CINDER BLOCK THAT WAS HURLED THROUGH
OUR FRONT WINDOW LATE ONE NIGHT.
SIEBEN ON LIFE
136 JUXTAPOZ
Did you ever want your
art, band, or logo
plastered on a hoodie
with built-in heaphones?
The standard issue is a
completely screenprint
friendly hoodie with high
fidelity sound.
standard
issue
screen
it!
ART BASEL HONG KONG
+ NEW IMAGE ART + MARTHA OTERO
HONG KONG + LOS ANGELES
Photos by EVAN PRICCO, JONATHAN LEIJONHUFVUD, and AMY DURAN
1
2
3
7 8 9
4
5 6
1 A lady to be reckoned with at Art Basel
Hong in the Mondecor Jakarta Gallery booth
2 Juxtapoz editor Evan Pricco, with Converse
Asias Vivian Chen, Wall to Wall producer
Philip Rodgers, Converse Asias Sherry
Wan, and Converses Adam Cohn
3 Charles Munka
4 Buf Diss
5 Alex Hornest
6 and the IDT Crew in Hong Kong
7 Pedro Matos at his opening in Los Angeles
with Martha Otero Gallery
8 New Image Art Gallerys Marsea Goldberg
with Neck Face
9 Chad Muska at his Transitions opening at
New Image Art, LA
POP LIFE
138 JUXTAPOZ
THE STANDARD DOWNTOWN
+ JOSHUA LINER GALLERY + GOOGAMOOGA
LOS ANGELES, NEW YORK, BROOKLYN
Photos by IAN CAMPBELL, ERIC MINH SWENSON, and VARENKA RUIZ
1 Hannah Stoufer and Jesse Figueroa
at the Jux x Standard celebration for
Stoufers mural at the Standard Downtown
in Los Angeles
2 Dave Frey and Madsteez
3 ESPN producer and lmmaker,
Steve Lawrence
4 Shark Toof and Nima Navabi
5 Donny Miller and Juxtapoz
David Sypniewski
6 The celebration
7 Matt Furie, Aiyana Udesen and friends
8 Thank You X working with Juxtapoz to
wrap this Lexus at the GoogaMooga NYC
in Brooklyn
9 Oliver Vernon and wife Anita at his solo
show with Joshua Liner Gallery, NYC
1
2 3
4
5
6 7
8
9
POP LIFE
140 JUXTAPOZ
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CL01.
THE PATRIOTS ACT
A TRADITION OF REVELATION TAKES A DRAMATIC, PUBLIC TURN
Illustration by MUNK ONE
THE AMERICA of yesteryear rewarded
do-gooders, ones that enlightened the masses
about agendas infringing upon their freedoms.
I think you even got statues in town squares
for being a patriot, maybe even got parade.
I remember growing up and thinking of Daniel
Ellsberg as an extremely important gure
in enlightening Americas extreme military
interventionist spirit during the post WWII
era. I considered him a hero for releasing the
Pentagon Papers in 1971. In 2010, Bradley
Manning seemed to be speaking to the greater
good of the US and international community,
and not personal glory, when he secretely
passed us military records from the Middle
East wars to WikiLeaks, eschewing attention.
Last month came the odd case of ex-CIA
employee Edward Snowden. At rst, we
cheered his actions: passing classied
information to the London Guardian about
the National Security Agencys in-depth
surveillance of its citizens felt like the act of
a true proponent of freedom. But then it got
a little weird. We wanted to call him a hero,
but his escape to Hong Kong, subsequent
interview tour, and very public announcements
that he would battle the US government from
his current location because of his faith in
Hong Kongs rule of law felt a bit like a thrill
seeking young man who just pantsed the
mighty US government. What was initially
perceived as a noble mission took another
twist when Snowden told the South China
Morning Post about the US hacking practices
toward the Chinese themselves. Wait,
whose side are you on, besides your own?
All of a sudden, the patriots act became a
personal vendetta. Ego blurred the message.
What Snowden revealed was monumental,
even if we suspected it was already
happening. In the great tradition of Ellsberg
or Manning, we learned of seemingly
unconstitutional activities occurring daily in
and around our lives. I do not want to live
in a world where everything I do and say
is recorded, Manning told us. We agree.
But for whom are you speaking? Juxtapoz
PERSPECTIVE
142 JUXTAPOZ
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