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SHEPARD FAIREY
REFLECTING ON POP ART FOREFATHER JASPER JOHNS
14 INTRODUCTION
18 THE REPORT ED RUSCHA
48 SHEPARD FAIREY
60 ANDREW POMMIER
70 JESSE HAZELIP
80 MARGARET KEANE
88 KIKYZ1313
96 TODD FRANCIS
104 TRAVEL INSIDER PHILADELPHIA
JUXTAPOZ.COM
Shepard Fairey in the studio preparing for his upcoming exhibition,
The Insistent Image: Recurrent Motifs in the Art of Shepard Fairey and
Jasper Johns opening at the Halsey Institute of Contemporary Art
through July 12, 2014. Fairey’s body of work is entitled Power & Glory
and features brand new works, which will be unveiled for the first
time at the Halsey. Photo by Jon Furlong
STAFF
FOUNDER PRESIDENT + PUBLISHER ADVERTISING AND SALES DIRECTOR
EBEN STERLING
ART DIRECTOR ACCOUNTING MANAGER
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AD OPERATIONS MANAGER
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GREG ESCALANTE JUSTIN BLYTH
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MARKETING + AD MANAGER
CO-FOUNDER KRISTIN FARR
SALLY VITELLO
SUZANNE WILLIAMS BRENT GENTILE
AUSTIN MCMANUS
WEBSTORE COORDINATOR
GROUP CREATIVE DIRECTOR EVAN PRICCO
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KEVIN CONVERTITO LALÉ SHAFAGHI
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DO YOU HAVE THE WORLD’S BEST FLUEVOG SHOES AD STUCK IN YOUR HEAD? DENVER
JEREMY FISH
IT WAS A REAL PLEASURE FOR ME TO INTERVIEW thank-you to Todd Francis and all the dudes at DLX, Printime, Portrait of Mr. Fish at his favorite San
Francisco landmark by Mike Hipple
Todd Francis for Juxtapoz. Both Todd and Jux played a big Dustin and Duane, Keith and the dudes at Think, and most of
role in my life over 15 years ago. In the late ’90s, I worked all, Eric and Fausto. I am super grateful for all the cool shit
in San Francisco for a screen printing shop called Printime. I learned at that time in my life.
We printed the posters for Juxtapoz, as well as all the
skateboards, tee shirts, and stickers Todd was designing
for DLX at the time. This was my first job out of college, and
I often refer to this period of my life as "grad school." Todd For more information about Jeremy Fish, visit sillypinkbunnies.com
10 JUXTAPOZ CONTRIBUTOR
INTRODUCTION
ISSUE No 162
“Giant stickers are both embraced and rejected, the reason
behind which, upon examination, reflects the psyche of the
viewer. Whether the reaction be positive or negative, the
sticker’s existence is worthy as long as it causes people to
consider the details and meanings of their surroundings. In
the name of fun and observation.”
—Shepard Fairey, Obey Manifesto, 1990
14 JUXTAPOZ INTRODUCTION
THE REPORT
ALTHOUGH BORN IN OKLAHOMA CITY, Ed Ruscha has That passage has been bookmarked in our office for years, above
Ed Ruscha, Honey, I Twisted Through
been in Los Angeles long enough to be perhaps the most not only because of the sense of mystery uncovered by More Damn Traffic Today
A High Line Commission, on view May
ideal and representative artist of the City of Angels. One an artist at work, but it helps define a natural trait that the 2014 – May 2015
Photo by Timothy Schenck
could argue, without much debate, that Ruscha’s brand of West holds in all forms of creative endeavors. There is hope, Courtesy of Friends of the High Line
1977 / 2014
art is synonymous with California itself, a commentary of invention, reinvention, and a horizon of possibilities. Strike
westward expansion and the imagery that accompanies it. it rich in gold, tech, Hollywood, take your pick. In the artist’s right
Cold Beer Beautiful Girls
If California is the edge of the world, and movement toward mind, California is what you want it to be. Three-color lithograph
Edition of 60
the West is the great unknown, Ruscha has spent 50-plus 30.5" x 40.5"
© Ed Ruscha
years pioneering the journey. Author James Ellroy once eloquently noted of Ruscha’s work Courtesy Gagosian Gallery
Photography by Robert McKeever
“[He is] the visual deus ex machina of what has become 2009
“I prefer drives that are long and desolate,” Ruscha told the most over-scrutinized city on earth… Mr. Ruscha's LA
ArtBook in 2011. “That's the kind of experience I felt when pictorials contextualize paintings of mind-altering pills,
I first drove out West—horizontal and empty. Some people could-be-anywhere gas stations and outright non-LA
get bored by driving long distances and not seeing any locales. Black skies that could mean day or could mean night
activity. I love it. I see things out there. I let the desert be the tell us: ‘This is LA.’ Mountain ranges north of the city are the
inside of my brain, like this space where I can begin to clear mental landscapes of persons seeking alternatives to LA.
my mind, or inventory my mind. When I'm driving in certain A hazy grey-black-white picture of a blank TV set is a
rural areas out here in the West, I start to make my own denuded LA looking back at us.”
Panavision. I'm making my own movie as I'm driving.”
/&$'('8MX[WDSR]
EVENT
BAN7 AT YBCA
ADOBE BOOKS BACKROOM GALLERY REPRESENTS
BAY AREA NOW IS THE SIGNATURE TRIENNIAL HELD meant to mimic the backdrop of San Francisco and the
Installation detail
at the ambitious Yerba Buena Center for the Arts in San Mission District where Adobe’s Backroom Gallery is located.” Kristin Farr and Jeff Meadows
Francisco. For the 7th edition, YBCA invited 15 local It’s a high honor to exhibit our work at YBCA, a space
arts organizations to commission site-specific projects that has hosted some of our favorite shows like Beautiful
throughout the museum-caliber space. My husband, Jeff Losers and David Shrigley. And the chance to represent the
Meadows, and I are working on a collaborative installation Backroom Gallery, which has supported many of our favorite
curated by Adobe Books Backroom Gallery, along with artists over the years, is truly a dream. This summer, expect
visual artists Lori Gordon, Erik Otto, Aaron Bray, and sound your mind to be blown and soothed at the same time. We’re
artists Marc Kate and Brian Tester. Our curators, Calcagno bringing our YBCA game. —Kristin Farr
Cullen and Christopher Rolls, explain: “We are creating an
environment that is lively, cluttered, and colorful, evoking the
spirit of Adobe as an all-inclusive space.
BAN7 is on view July 18 - October 12, 2014
22 JUXTAPOZ EVENT
PICTURE BOOK
YAN MORVAN
THE MOMENTS BETWEEN THINKING
JUXTAPOZ.COM / PHOTOGRAPHY
DANA TANAMACHI-WILLIAMS
CHALK WAS ONLY THE BEGINNING
YOU MIGHT FIND DANA TANAMACHI-WILLIAMS create a how-to stencil book specifically to be used with chalk. above
Flourish
listening to country music or collecting vintage packaging I thought the idea was pretty fun, but felt that chalk was pretty Photos by Andrew Ryan Shepherd
for inspiration while she works on any given number of limiting, considering how much I love working and crafting top right
Women’s Deja Vu Flying V
projects within her newly-formed Brooklyn-based design firm. in different mediums. So, I pitched it to the publishers to let Snowboard for Burton
Tanamachi Studio started modestly, but now Dana is adding me do the book using paint, embroidery, cut paper, bleach right
clients such as Oprah, Time Magazine, Nike, Burton, Target, pen, etc. I simply showed them all the personal work I had Puffin Chalk
Series of book covers for
and even Google to her roster. —Brent Gentile been doing in these mediums, and they immediately gave me Penguin’s children’s division
32 JUXTAPOZ DESIGN
letter in a word really matter, and that they should all visually
be the same? There are people out there who care about this
stuff?” And I decided that I wanted to be one of those people.
I love design, and I put those elements to use every single
day, but I mainly use letters and simple illustrations to solve
most of my design challenges. It just feels right to me. After
I graduated and moved to New York, I was able to draw a lot
of type by hand while working on Broadway show posters at
SpotCo during the day. And I’d find myself doing the same on
my subway ride home or on nights and weekends.
JULY 2014 33
important, even for young designers. I want to know and see Have you considered starting a Tanamachi type foundry? San Francisco Nike Women’s
Marathon branding
that someone can take an idea from start to finish, not just No way! Typeface design is a whole ‘nother beast. I have Photos courtesy of Nike
post unfinished sketches to Instagram. But I do think that it’s the utmost respect for people who make and sell their own
vital for designers to consistently be working on self-initiated fonts for a living. It takes a lot of time, patience, and attention
projects because people won’t know what you’re capable of to every painstaking detail. I’m more of a broad strokes kind
unless you show them. It’s the idea of doing work to get work. of designer, even though I do try to put a lot of detail into
everything I do. I just don’t think I have the stamina to run
Personal work is so much better than spec work, right? a foundry!
Exactly! It’s for yourself and it’s about improving. You can
experiment with no one watching. Everyone needs that I’ve always felt like type designers are the unsung heros of
season of anonymity—the freedom to fail. our industry.
They really are. I can’t express how much admiration I have for
Do you create your own typefaces or manipulate type designers. They are a different breed altogether—very
existing typefaces? creative and visual, but also extremely mathematical. They
I don’t really create my own typefaces—for me, it’s more about quietly plug away for thousands of hours on a single typeface
taking elements from history and creating something new. for little to no recognition, yet we use and interact with their
What I love about lettering is that I can borrow from my type handiwork every single day.
collection and apply different drop caps, shadows, flourishes,
descenders, etc. Most days it feels like a puzzle that I’m
putting together from all the images floating around in my
mental and physical libraries. For more information about Dana Tanamachi-Williams,
visit tanamachistudio.com
JUXTAPOZ.COM / DESIGN
34 JUXTAPOZ DESIGN
YOGA SLING
SANDAL COLLECTION
TELLASON
PURE, SIMPLE, AND STRONG
PLAINLY-STATED, TELLASON MAKES THE CLASSICS fabric from Cone Mills' White Oak plant in Greensboro, Photography by Alex Nicholson
that you want in your closet, and they make them really North Carolina. You’ve even encouraged contributions
well. What started as a single-fit of denim jeans made in regarding ideas on shape and fit from stores you sell to.
San Francisco has grown into a staple of expertly-made, What is it about collaboration that helped Tellason grow?
well-designed lines of jeans, fleece, and jackets, with plans Sometimes the word “collaboration” sounds overplayed,
to expand into other everyday basics. This isn’t trendy, this but the word and the exercise of collaboration still means
isn’t even part of some seasonal fashion planning—these something special if it is natural and part of your DNA.
are hoodies and jeans, utilitarian jackets and basic T-shirts For us, we are secure enough to know that this industry
made with care and thoughtful appreciation for what lasts. of ours is simply a series of redefined and regurgitated
We talked to founders Pete Searson and Tony Patella at tops and bottoms. We are not looking to invent anything
their studio in Sausalito, California, and asked them about since the reality is that it has all sort of been done before.
Joe Strummer, House Industries, and the spirit of like- Acknowledging that there is very little, if anything, left to
mindedness in art and life. —Evan Pricco invent in the apparel market, we just get on with making
super high quality goods that serve each customer as
Tellason exists because of both of you and your joint effort, optimally as they can. Back it up with some good old
vision and determination. But one of the great things you customer service, and try to make some friends along the
have always made clear is the collective aspect of making way. When we speak with someone and listen to what they
a pair of Tellasons, whether from House Industries in the have to say, we are really listening. No BS, we are in this
logo design, Tanner Goods’ emblematic leather patch, or conversation because we respect the person we’re facing
36 JUXTAPOZ FASHION
and value their opinion. If their ideas are relevant to our
culture and we hear it from others along the way, let’s do it.
JULY 2014 37
people, or the fact that we still laugh our asses off every time seemed to be a good idea. They have their limitations. But
we see the movie Fletch, will always be part of our DNA. the shot of you or your dad wearing a great jacket, shirt, or
After all, every big thing or big idea started small. boots that stand the test of time evokes an entirely different
impression—one of pride and satisfaction in knowing you
You see a ton of clothing and products every year in your had the minerals to buy something substantial.
travels. What are some surprise details and touches that
stand out to you when you see something you like? If you If you could dress one film in history, which would it be?
see a jacket that appeals, what details do Fletch. We’d love to see Alan Stanwyk, Fat Sam and Ted
you remember? Underhill in a pair of Tellasons.
Sometimes we learn more about style and design by
acknowledging what is not there. Superfluous notions of
“trend” or “hot right now” always seem regrettable. It is great
to have modern ideas and act upon them, but make them For more information about Tellason, visit tellason.com
useful! Think about how you will feel if, in 20 years, you see
a photo of yourself wearing it. We all have that box of photos JUXTAPOZ.COM / FASHION
and get a good chuckle out of the half shirt and OP cord
shorts worn in high school, or the shitty parachute pants that
38 JUXTAPOZ FASHION
INFLUENCES
JUSTIN BLYTH
HOW THEM-THANGS BECAME A THING
THERE ARE PLENTY OF TUMBLRS THAT ARE WELL who has formal training, and more importantly, thoroughly Portrait by Brian Williams
curated, searched and groomed, processing years of cultural understands and interprets the work they deal with, its
imagery that were long-forgotten but more appreciated context and cultural heritage. So maybe the web is more
with age. Them-Thangs was one of the best, a site in which of a curator’s hell. People have time to kill, so they collect
we invested hours upon hours spellbound by the clever and share photos they like. It’s not curation, but at the same
combination of colors, eras, celebrity, and nostalgia blended time, I’m not mad at it. We have insatiable and minuscule
into such an appealing aesthetic. Justin Blyth, a designer attention spans so we suck it up. I think if you do it in a way
and Art Director from Los Angeles living and working in that the underlying themes tell an interesting story, then it
Amsterdam, is the man behind Them-Thangs as well as can be cool. But, ultimately, we’ve ripped curation a new
projects with Nike, Stussy, Playstation and more. Here, in his asshole and taken everything out of context, posting and re-
words, are his influences. —Juxtapoz posting endlessly until any semblance of meaning has been
completely shredded. I think the term curator is about as
NOSTALGIA meaningful as creative director nowadays. It’s like, you put
It might be a disease, and I definitely suffer from it. your logo on a tote bag, you’re now a creative director.
42 JUXTAPOZ INFLUENCES
I READ WALDEN A WHILE
BACK—NOW THAT’S A
GOOD PERSPECTIVE
SHIFTER. I WANT TO LIVE
LIKE THOREAU BUT I’M
TOO MUCH OF A PUSSY
trends and fashion stuff go. But deeper than that, I think
we’re really struggling for something to hold onto now.
Everything is so quick, fleeting and meaningless. Tweets,
hashtags and likes take up people’s entire days so that they
completely forget to actually socialize in real life. All that
shit is so dishonest and either totally vain and self-absorbed
gloating, or passive-aggressive bullshit. I think everything
is so backwards now that we’re looking to the past, to our
parents’ generation and even earlier, to remember to slow
down and just do physical, tangible things again. Just live in
the moment a bit more, not try to capture and share every
waking moment or fleeting thought, make tangible stuff,
just chill out. I read Walden a while back—now that’s a good
perspective shifter. I want to live like Thoreau but I’m too
much of a pussy.
AN AMERICAN IN AMSTERDAM
Even though I sometimes miss the States, I’ve been here for
six years and it’s been a dream. Some things are backwards,
but a lot of things about America are backwards too.
Amsterdam is such a beautiful place, almost idyllic. It looks
like a postcard; you ride your bike to work, it’s very chill. I’ve
been lucky enough to see a lot of the world over the last six
years. It’s changed my perspective quite a bit, and I’m very
grateful for that. I wouldn’t have that perspective if I had
stayed in LA. All of that aside, I wouldn’t be mad at some
better weather and a good taco.
THEM-THANGS
I was working at this agency in Amsterdam. Our client
had moved on, and my freelance contract wasn’t up. I was
in there at my desk every day and didn’t have shit to do.
Naturally, I just surfed the Internet all damn day, saving
photos along the way. I also have a thing for collecting old
magazines and books, so I’d scan shit at my desk. Eventually,
I dumped them all on a hidden page of my site and shared it
with friends as a sort of inspiration thing. It just took off from
there and eventually evolved into a small magazine. We did
two issues, the second was with Hassan Rahim and Justin
Van Hoy (RIP). I don’t really update the blog any more and
the magazine is such a labor of love, it’s hard to make time.
I’m not really sure what’s next for it, if anything.
BEING A DESIGNER AND ART DIRECTOR TODAY R. CRUMB
If I won the lottery tomorrow, I wouldn’t quit my job. I don’t Always a place in my heart for Crumb. My dad had that melty
know if a lot of people can say that, so it’s a nice feeling. I stoner face thing in our house when I was a kid and I keep it
went to art school and did that whole thing, but it’s definitely out as one of my reminders of him. That documentary on him
a changing landscape. Kids think Supreme branding is tight is amazing too, he’s a super weirdo.
but don’t know who Barbara Kruger is. That shit bugs me out
sometimes. So I think there’s something to be said for going COLLECTING BOOKS
the classic route and not getting an Internet education. But, I hate it. They take up too much space and they make
at the end of the day, if you have talent and a good attitude, everything dusty.
then just go out and get it by any means. Ultimately, the goal
is to get away from the computer more and more the longer
you’re at it. I don’t think anyone wants to be a 50-year-old
designer. Become a conceptual thinker, put the whole thing For more information about Justin Blyth, visit jblyth.com
44 JUXTAPOZ INFLUENCES
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LIMITED EDITION CO-LAB
AVAILABLE NOW
SHEPARD FAIREY INTERVIEW BY EVAN PRICCO PORTRAIT BY JON FURLONG
IF YOU DON’T KNOW SHEPARD FAIREY, YOU KNOW SHEPARD FAIREY. You have
encountered an Obey Giant sticker before, I guarantee that. There’s a chance that you,
your son, or daughter is wearing an Obey shirt right now. Unless you were living under a
rock in 2008, you saw an Obama “HOPE” poster, and it probably gave you pause, whether
you voted for the man or not. So, you know Shepard.
He has spent nearly 25 years blanketing pop-culture Evan Pricco: Let’s start with how people see your art on
with his imagery, an experiment in phenomenology that a daily basis. You have fine art, street art, public art, and
was created "to reawaken a sense of wonder about one’s the clothing. For those who are not inundated with art
environment," which Shepard wrote in his 1990 Obey everyday, the clothing is probably the most approachable
Manifesto. Flash-forward to the present, and the Obey and relatable way to show your art to people.
project is not only successful, it has gone through all the Shepard Fairey: The idea of my graphics on T-shirts was
major stages of an indie-band gone multi-platinum—an actually something that was higher in the mix as a priority
underground icon experiencing the inevitable backlash, but when I started than anything else. I never thought I would
a popular figure galvanized to champion the underground. be taken seriously as an artist. The first sticker I ever did
Amazingly, through all of this, Shepard still maintains a close was a byproduct of me trying to teach a friend how to make
relationship with his fans and followers, one of the few artists stencils for homemade T-shirts. Clothing is an unintimidating
to consciously include them in releases and projects. format. It’s a very populist format.
And no matter where Obey has taken him, it all funnels But for me, it’s all important. Of course street art is incredibly
back to art. "There are a lot of things I love," Shepard says. important because of the scale of the application and the
"I love music, I love making pictures, I love feeling like I fact that it’s in public space. The part of the energy that
can comment on things that are unjust in society or in our went into it transfers to the viewer, and especially if it’s done
government or foreign policy. But art is really the only way illegally, a bit of the thrill for the voyeur is knowing that it was
I can bring all those things I love together." a thrill for the creator. That’s an important element, where
the medium is the message.
I’m sure I speak for many when I say Shepard was and is the
gateway drug. A gateway to street art, a gateway to politics, Street art is the foundation of everything in a way. It starts
gallery culture, music, fashion, and maybe even a gateway the story.
to a little counter-culture activity. And as Shepard’s career Right. I like a lot of street art because it’s political in that
has grown from the streets of Providence to international the more people that demonstrate that they will not just
recognition as creator of perhaps the most famous piece submit to whatever arbitrary rules are out there, the richer
of art created in the last half-century, he has remained the dialogue is about who’s in control and why. But it’s not
accessible and grounded in the subculture that bore his all I care about. I love the pleasurable side of music but a
aesthetic and work ethic. His latest museum exhibition, The lot of my favorites mix pleasure with provocation. Socially
Insistent Image: Recurrent Motifs in the Art of Shepard Fairey or politically, whether it’s Public Enemy or The Clash, Bob
and Jasper Johns, runs through July 12, 2014 at the Halsey Dylan, Bob Marley, or Dead Kennedys, I try to keep that
Institute of Contemporary Art in Charleston, and places mindset for what I do visually.
Shepard in the company that many have spoken about in
recent years—partnered with a pioneer of Pop Art, two Our 20th Anniversary gives us a chance to both reflect
artists balancing popular imagery with critique, two artists and look ahead. Your career over the past 20 years, more
back home in South Carolina. like 25, was announced with a manifesto that laid out an
experiment that was based on the potential of Obey and
I spoke to Shepard at his art studio in Los Angeles, in the your art. It was quite spot-on, wasn’t it?
midst of finishing his Power & Glory series set for the Halsey. I was only twenty years old in 1990 when I wrote that
He was comfortably candid, and knowing that Juxtapoz manifesto, and a lot of it was based on things I’d observed in
was celebrating its own milestone in 2014, forthcoming in a the one year I’d been doing the sticker campaign.
conversation that spanned past, present, and future. I applied that to the theories I’d read, situationism and
JULY 2014 49
phenomenology, and things I’d seen play out as trends in a little bit soul crushing. I look back to some of the early Power & Glory Flag 3
Mixed Media
pop culture. But I’m amazed reading it now. It sounded like I Flipside compilations and that banter between the songs, Stencil, Silkscreen, and
Collage on Canvas
knew what would happen in the future. I had no fucking idea with a band saying, "We want you to either be motivated to 44" x 44"
what I was doing and what was going to happen. put the record on or take it off." That’s how I feel. You know, 2014
JULY 2014 53
Maybe the version of it in the five-pointed star appeals the something really significant. I like the idea that although things above
Dark Wave
most to me because unintentionally, it connects back to the may start from humble beginnings, when you pay attention Mixed Media
Stencil, Silkscreen, and
stars in the American flag, the Chinese flag and the Russian to the potential, you can figure it out as you go. And that’s Collage on Paper
flag. The five-pointed star is used in ways that Americans fear exactly what I did. Edition 2 of 10, HPM
47" x 36"
and revere all over the place. That face within the five-pointed 2014
star gets reactions ranging from, "It’s a pentagram with Satan I think a lot of people are paralyzed by fears that their right
Empire State of Mind
in it," to, "This is a symbol of pushback against unwanted plan won’t be genius enough, and their art won’t be the Mixed Media
oppression from authority." masterpiece that bowls over the world the way they were Stencil, Silkscreen, and
Collage on Canvas
hoping, so they just don’t do anything. But art is so intuitive 30" x 40.5"
2014
Some people look at it in that way, so it’s my symbol of the that I think you just respond to what moves you. Maybe you above
counter-culture pushback, all fair interpretations creating won’t find your unique voice the first time, maybe not the
useful dialogue. So I’m really proud of that image. But with tenth time, but at some point, it will yield something where
the Internet now, everyone can think, "Oh, it’s related to his you’ll say, "I’m onto something here." And other people are
clothing and art brand." As a stand-alone, does it really have going to validate your feeling of being onto something. A lot
the same potency anymore? That’s why I’m always coming up of people start to do something that’s based on checking
with new images that I hope are potent but still use that Obey which way the wind’s blowing in the art world or pop culture
icon as a signature element. Regarding the Andre The Giant so they never really tune into that unique voice that’s theirs.
sticker, that was the most crappy, DIY, spontaneous thing ever, And of course I’m always accused of biting this style or
and yet it was the first piece of what I think has grown into taking that image. But even though I’ve been inspired by
being able to say that started with something as silly as the creative people who were trying new things in the early right
Green Power
Andre sticker, and I want to remind people that they don’t ‘50s—leaving Abstract Expressionism and moving into Pop Mixed Media
Stencil, Silkscreen, and
need to feel intimidated, just make shit. Just make shit, man. Art—that is really inspiring. Do you feel the art community Collage on Canvas
Look, I started with this crappy thing. you’ve grown up with has that kind of kinship? 44" x 59"
2014
yet. It was everybody hanging out at the Alleged Gallery in I know on paper how fortunate I am and how grateful I should
New York City. Aaron Rose had a real vision, coming from a be, and I am, in so many ways, grateful because I get to make
similar place as me. He loved what was going on around the a living doing what I love to do. That’s extraordinary. It’s still
art of skateboarding, music, and graffiti. And those things hard work because being able to be creative on my own
were very different at the time. The first show in New York that terms requires a lot of work to do things that aren’t part of my
I had work in was at his gallery in 1994. It was a show called predisposition, like running a business. So yes, I feel really
Represent, curated by Carlo McCormick, and the concept of fortunate. But I’m young at heart, and although I’m 44, the
the show was artwork inspired by streetwear. I was making idea of appealing to younger people who aren’t jaded is really
artwork and turning it into streetwear. At this point I had only important to me. I feel like whatever I’ve done, I haven’t done
made about five poster designs ever. I had done a lot of street enough to show that I still have that outsider punk mentality.
art, a lot of bombing, but little as far as art posters. I haven’t done enough street art recently. I haven’t gone out
to see enough bands recently. I don’t know if I’ll ever be able
You weren’t even thinking, "Oh I’m going to have a fine to rest. When I go on vacation with the family, I enjoy a couple
art career." days, and then I get restless. If I have my laptop with me, I
No way. Absurd. I got a call from Evan Bernard, do you know work on graphics or do research or whatever. I go out and
who that is? shoot some photos, but I can’t just do nothing.
"Drive the lane like I was Evan Bernard"… Beastie Boys, It really is the relentless experimentation.
"Get It Together." Yeah, the feeling you were talking about. When I’m out
Yeah, yeah. So I get a call from Evan Bernard, "Hey, are you driving around, when I see something I’ve done, there’s a
going to be at the show tonight in New York? You know you’re moment of satisfaction. But when I see other good spots
on the flyer." And I said, "I didn’t even know about it." And he I haven’t done yet, that’s when I’m like, "I’m not doing
goes, "Well if you come, could you bring me a few of your enough!" When I do an art show and get validation from
T-shirts?" And I think, "This guy’s connected to the Beastie people that I look up to, it is really incredible. Having people
Boys! Of course I want to bring him T-shirts!" My crew and I who started off as heroes of mine now consider me a
did the three-hour drive from Providence, and we get there for respected peer, I can’t really ask for much more than that.
the opening, and Futura was there, Phil Frost was there, Mike And in a way, the weight of those people that I admire is so
Mills. Phil Frost said to me, "I really like those Andre The Giant much greater than all the haters out there.
things." Twist had some work there also, and I loved his art.
Meeting all those guys, it was such a small clique of people at Part of the reason I’ve been able to do the things that I’ve
the time, we all became friends and did projects together. The been able to do is because I tend to not think about how
camaraderie only lasted for a few years. By the late 1990s, what I’m doing is supposed to be reflected upon, because
everybody had developed enough on their own that they that paralyzes me. I think about what I am feeling right now,
didn’t need the support of the group anymore. what I want to do right now, and hopefully, if it makes sense
right now, it will make sense to look back on it in a few years.
Who are some artists right now making work that you are Does it attract something important in that moment, or does
excited about? it address something about human nature in a more timeless
As far as newer people that I’ve discovered, there’s this way? To think back or reflect every time I’m doing something
guy, Harland Miller, out of the UK, that I love. He paints in regard to my art, and not just approach it intuitively, just
these works inspired by old Penguin Book covers. It’s shuts me down.
incredibly romantic-meets-dirty-filthy stuff. I think there’s a
convergence of a lot of really interesting things happening in
his work. It’s Pop Art but he’s got his own thing. I love smart
Pop Art. For more information about Shepard Fairey, visit obeygiant.com
I really love what Cleon Peterson is doing also. Cleon’s been JUXTAPOZ.COM / SHEPARD - FAIREY
working for me for a long time, and with me; but he’s always
been a ridiculously talented guy. He’s got his thing down
now. I’ve been loving what Retna’s been doing for about
the last three years. Retna’s work is really beautiful. Getting
down to what is the most powerful essence of what you do
is the best way to go. It’s really cool to see his evolution to
something I think is truly masterful.
Kristin Farr: You have more than one painting that says, or Hostel. I admit that stuff makes me uncomfortable even if BEYOND THE STORY
“I hate your dog.” Have you been wronged by a dog? it’s fiction.
All three cars I've owned have
Andrew Pommier: I lived with a great dog named Raina for
been station wagons
many years. She was a pit bull/whippet cross. I do like dogs, Some other juxtapositions in your work are sadness and
but within a certain range. Basically, I’m picky about dogs. humor, humans and nature, fear and safety. What interests Last year I changed from a long-
standing vegan diet to a more
I had been thinking about doing something with that phrase you about these oppositions?
animal protein/whole food way
since moving to Vancouver, and it just recently came to In the past, my work has been best described as “it’s funny of eating
fruition. It was just me being a contrarian and looking to get a because it’s sad.” I’m trying to get away from that description,
rise out of people. Kind of juvenile, but also kind of fun. but I do like juxtaposing opposites because I like the visuals From time to time I enjoy a huge
cup of pretty bad convenience
those opposites allow. For example, man and nature is store coffee, served black
Tell me why you like to draw animals smoking. something you could explore until the cows come home, but
I like the device of a cigarette because it gives the sense of I think I would get bored of having that one conversation over
corruption. The cigarette is also something I like to add as it and over again. I don’t put too much forethought into what
takes away the idea that I’m doing a straightforward painting emotional resonance is going to result from my work. I let the
of an animal. visuals present themselves, and I try to make work that I find
interesting. Thinking about what I’m trying to communicate
You admittedly draw dark things to balance out a tendency is more of a conversation for after the brushes have been
toward cuteness, and I’m curious to know what kind of cleaned and the paint tubes have been recapped. I first have
cute stuff inspires you. Are you also into horror movies, or to deal with the execution of the imagery.
do you have a harder time connecting with the dark side?
Sometimes even your drawings of knives are cute. Even if you’re not considering the emotional response
Exactly, I draw cute knives. It’s just the way my line works. ahead of time, you’re good at capturing moods. Are you a
I don’t know how or why everything I do ends up being seen very observational person?
as cute. I think it has something to do with drawing the eyes I can be very observational from time to time. Sometimes
too big, or the roundness of the fingers I draw. As a result, my head is in the clouds, and sometimes I’m looking too
I need to skew the image the other way— basically, bunnies, internally to notice what’s happening around me. The moods
but smoking and drinking, carrying a knife—or crossing out I present in my work aren’t often planned. I tend to let mood
the face with quick, aggressive marks. It’s always an uphill roll out as it will.
battle, which is fine. I really like Hello Kitty and My Neighbour
Totoro, and any Miyazaki film. I’m actually fine with being on So then it probably reflects your own moods.
the cute scale, it’s how I roll. I wonder if there is a version of Yes. What I make is, at times, cathartic. Other times, it’s
the Kinsey Scale for cuteness? a problem to solve. My paintings are a reflection of my
sketchbook, which contains my most honest work. My
I’m not a fan of horror movies but, if pressed, I would rather sketchbook is where I record my life, and some of the
watch something like the reboot of Friday the 13th or The stronger ideas that are in its pages could be end up being
Cabin in the Woods than that weird horror-porn like Saw realized in the format of painting.
things and didn’t particularly enjoy color theory class in art for the smell and process of oil paint. I have taken ideas and right
Smoke ‘em If You Got ‘em
school, I did learn a little from that. The black painting was techniques from my acrylic work and incorporated them into Oil on panel
a challenge to see how subtly I could shift black to make some of my work in oil, like using graphite mark making, 20" x 24"
2010
it render a figurative painting that would appear black in not as a starting point, but as a present element in the
following spread left
normal lighting, where the figure would only be revealed finished piece. The Warren
with direct light. That painting was also about me learning Oil on panel
20" x 24"
how to use form and tone to define an object instead of a Many people think it takes days or months for oils to dry, and 2010
line, which is something I’ve relied on for most of my career. it can, when used thickly or heavily with light colors. Yellow following spread right
will take so much longer to dry then most other colors, but The Sparrows Have It
Oil on panel
Are you still working in oil paint? there are really effective mediums you can use that will make 20" x 24"
2010
I returned to painting in oil in late 2009 after a hiatus of almost any color dry overnight. And with the longer drying
a few years. When I was 17, I had yet to be introduced to time of oils, there are so many different ways to execute
acrylic paint, and my high school art teachers weren’t very marks. I’m having a blast with it and am really happy with the
knowledgeable or informative. So on a visit to an art store in return to oil.
Toronto, I bought some large tubes of oil paint—red, yellow,
blue, white and black—and started there. I made almost all my Who are some artists you relate to?
paintings in oil until I came to a point that I felt that acrylic was George Condo, Philip Guston, Alex Katz, Wes Lang, Gokita
more conducive to what I wanted to accomplish. So I left oil all Tomoo, Colin Chilag, André Ethier… and on and on.
together to try to get my larger works to echo my watercolor
pieces. I was hoping the speedy drying time would loosen
my execution. I think watercolor is closer to oil than acrylic.
conversation happening. Little to no snow over the winter is I started skating in the mid ‘80s, which was the height of right
A Fine Thing
always a good thing. It’s one of the main reasons I moved out Powell Peralta, so almost any of those skeleton-based Oil on canvas
here. As for shorter names for Vancouver, it’s just shortened boards were an inspiration. VC Johnson is so untouchable 11" x 14"
2014
to Van, or sometimes it’s referred to as Lotus Land, but that’s in his ability to render. It was kind of intimidating. It wasn’t
not really shorter. until I learned that pros could draw their own graphics that
I thought there might be some room for my hand. Reading
Tell me about the town where you grew up and if you think about and seeing the work of people like Neil Blender, Chris
it had a lasting influence on your art. Miller and Tod Swank was really eye opening, as it was
I grew up in Sudbury, which is a small city centered around artwork that wasn’t as polished as the board graphics. My
nickel mining. It’s located four hours north of Toronto. There favorite comic books as a kid were The X-Men and The New
is no doubt that it influenced my work. It was pretty devoid Mutants. I remember seeing an early New Mutants story
of a culture. My parents are both creative types. My dad is that Bill Sienkiewicz drew. His style is amazing and really
an excellent woodworker and a decent draftsman, and my different from most other comic books, which was another
mom, pretty crafty with needlepoint and sewing. We had art part of my early art education.
books around, and a few paintings on the wall. We would
always stop at museums on road trips. With that said, I was
pretty ignorant of the larger art world and I had no idea
about contemporary art or galleries. It wasn’t until I went to
What’s the last funny, amazing or weird thing you saw on For more information about Andrew Pommier,
the Internet? visit andrewpommier.com
I just watched a short video piece online that highlighted the
creepiness of the host of a budget 1980s Canadian children’s JUXTAPOZ.COM / ANDREW - POMMIER
game show named Just Like Mom. The video showed the
times where the host would basically force 11-year-old girls to
kiss him on the mouth. I remember watching the show when
I was a kid and totally missed how weird and creepy the
host was, and I can’t believe he got away with it for over 500
episodes. I felt weird after I watched it.
FROM GRAND CENTRAL STATION IN NEW YORK CITY, I TOOK THE SCENIC METRO
North line that snakes along the Hudson River to the small town of Beacon to visit my old
friend, Jesse Hazelip. Originally from the West Coast, Jesse relocated several years ago,
substituting big city stimulation for solitude, allowing him more time to focus on artwork
and raising his son. While exploring the surrounding areas of upstate New York, Jesse
discovered an abandoned old prison that he frequently visits and from which he draws
inspiration. He repeatedly and enthusiastically suggested that I needed to come explore
the facility with him, so organizing this feature became an excuse to finally take him up on
the offer.
Approaching the eerie compound in Jesse’s large white lot of racism towards my brother. He’s adopted and black,
cargo van, we joked about the vehicle’s appearance and and he was the only black kid in the entire county. Those
how we looked like scrappers. The prison, which consists of rednecks let him have it. He’s been in more fights than
several separate buildings, was surprisingly absent of any most professional fighters. I would jump in when I could,
graffiti or vandalism, despite being unused for a long period but we were in different grades and were assigned different
of time. Lurking around, taking photos and doodling on walls, playgrounds. I guarantee that I’ve beat up more white kids
the world outside temporarily dissolved and I realized why over the N-word than most black people. When I finally
Jesse had asked me to come. It’s a place for conversation, found graffiti after my move to California, I was instantly
contemplation and tranquility. The infrastructure included consumed. It was the perfect channel for my angst. It was
ridiculously tiny cells and was a sobering reminder of destructive but nobody got hurt. It was also a way to seek
America’s highly profitable, inhumane and deeply corrupt the attention that I was lacking in other aspects of my life.
incarceration practices, the most prevalent theme in Jesse’s I was in self-destruct mode and the danger involved was
most recent body of work. —Austin McManus very addicting. There’s nothing like putting your life and
freedom on the line and getting away with it. I’ve been on
Judith Supine: Were you making art where you grew up in an unfathomable amount of graffiti missions and only been
Cortez, Colorado? arrested once. I’ve been in handcuffs more times than I can
Jesse Hazelip: Yes. I’ve been drawing for as long as I can remember, but that was mainly for drunken nonsense that
remember. My art was always very angry. I would draw from never ended with me getting booked. Cops are bored and
comic books and create my own characters, and was heavily lazy. It’s not like Law and Order.
influenced by skateboard graphics. Now that I think about it,
I’m not sure if I was drawing the superheroes or the villains— Describe your first encounter with graffiti writers.
just really poorly drawn buff monster dudes killing people. When I first began writing, I had absolutely no connections
I started drawing in sketchbooks at a very young age and to any graffiti writers or influences. I initially chose a stupid
managed to hang on to most of them. It’s nice to be able to name. I think it was Trix. No disrespect to anyone currently
look back at the beginning, the early stages of my attempts writing that name, but it is stupid. I would write out a short
at art making, long before I knew it would be my “career.” pseudo-political phrase and sign it with my terrible tag.
It’s strange, because I guess I was always an activist at
You first saw graffiti at age 12. Why were you an angry, heart, though at that time, I wasn’t even aware of what
unhappy kid at this age? activism was. By the time I met some graffiti writers at my
Family issues had a lot to do with it. There was alcoholism high school I had already been writing terrible toy graffiti
involved and a very unhealthy family dynamic. It didn’t help for about two years. My friend, who was writing Wish at the
that in Cortez, I was able to start drinking at 11 due to adults time, introduced me to this guy Winks, and eventually, Noe.
with a twisted perspective on child rearing. I also saw a Much later I met this weirdo named Jehu. Winks put us in a
JULY 2014 71
crew RCK, then Wish (Coke) and I started a crew called DCK times that I’ve been in a county jail facility. I was shocked by above
Brioche
which turned into DCF. We dropped that crew and started the inhumane treatment and the obvious racial bias in the Ballpoint pen on paper
22" x 15"
OSD Outsiders, which is the crew that I’m still in. Graffiti will population, and I could guess that it was much worse in higher 2012
always be the core of my art and inspiration. My approach to security prisons. My experiences there triggered the need to
right
vandalism has changed, but I will always be a graffiti writer make art to bring attention to the atrocities silently occurring W Vulture on the street in NY
at heart. behind those thick concrete walls. The book The New Jim
Crow by Michelle Alexander has been my bible in researching
You described graffiti as dealing with your personal this series. She worked tirelessly, uncovering blatant racism
problems in a public manner. What are those demons? throughout all levels of our judicial system.
I was going through a lot. My parents were splitting up and
I had moved away from my mother and Navajo friends in Though there are many issues that need examination, I think
Colorado. I can’t tell you how many times I cried at the end that there are a few pressing ones that need to be dealt
of Dances with Wolves when the white boy leaves the tribe. with urgently. The number of prisoners with mental illness
I was such an outsider in this new environment and had is sickening. Prisons are not at all capable of caring for the
zero friends. I found graffiti on my first train ride through the needs of these individuals. Solitary confinement is another
L.A. River. It was the perfect way to occupy my bored mind. major violation of human rights. This method of incarceration
I found a place in graffiti where my mind was completely is equivalent to torture, especially when you have prisoners in
present and not distracted by all of my demons. I could focus these conditions for multiple years and sometimes decades.
only on what I was doing at the moment because if I didn’t, One of the most prevalent issues I have a problem with is the
I could be hurt or incarcerated. overwhelming number of nonviolent offenders doing serious
time for drug charges associated with the ages-old drug war
How do you define compassion? that we’ve been losing for more than 40 years. If we were in
Being able to look at a criminal and love them regardless of Iraq for 40 years, do you think the public would be supportive?
their deeds. People in our society are very quick to judge We need to take a different approach, obviously.
others, especially poor people, based upon their own reality.
I’ve been reading a lot about the prison system for my current How did the heron and buffalo first come to you? What
body of work, and it’s alarming how racist and cruel the would Jung say these represent?
current punitive system is. I had a small taste of it the few Jung would be proud of me, I assume, for listening to my
suitcases and fly to Hawaii. Grabbing her daughter, Jane, at first, until they consider the abuse. The conversation always right
Taking A Walk
Margaret sought a new life, and why not paradise? She had tends to sway toward why Margaret withstood the fiction, Oil on canvas
never stopped painting, and her artistic abilities seemed 18" x 24"
finally applauding her decision to emerge and turn out more ©1960
to improve. The warm tropical environment impacted the beautiful and powerful work while in her 80s.
compositions, which became more colorful, populated with
children who were often smiling and appeared happier. She One of the developments that came about while Margaret
still paints tearful young faces, but assuredly, they are drops lived in Hawaii is her generous portrayal of animals in her
of joy. New love and marriage entered her life, fulfillment at paintings. In the ‘60s, there may have been one cat or one
last. She was enjoying life, and yet, there was the gnawing dog, but now some are only of animals, or some with a single
question about a real purpose in life, the why and where, human. Naturally, she still works in the classic Keane style
and is this it? For someone whose first artistic inclination was we recall.
impelled by emotion, a spiritual quest evolved, and Methodist,
Catholic, Mormon, Seventh Day Adventist and Hindu religions I doodle while talking on the phone or listening to something.
were explored, with none answering her questions. In time, Some of my best doodles have become paintings. They seem
she found found her answers in the Bible and Jehovah’s to express things from my subconscious. Most of the time, I
Witnesses. Skeptical at first, she became convinced she was will work on four or five paintings in various stages. I will stop
learning the truth she was seeking, and was baptized in 1972. on one, go to another, and get a fresh view. If I look at one
And after living in Hawaii for 27 years, Margaret was drawn canvas too long, it gets distorted and I can’t see it objectively.
back to the San Francisco Bay Area, where she continues to
paint, preach, and enjoy life. Another aspect of her recent work has been a series of
socially conscious paintings created for the Kinship Care
Depictions of time and space have always interested me. As a For more information about Keane Eyes Gallery, visit keane-eyes.com
result, they have been in the background in many of my older
girls. Lately, I’ve been experimenting with the perspective JUXTAPOZ.COM / MARGARET - KEANE
Hannah Stouffer: To start, who are you and where are What do you consider beautiful?
you from? I believe everything is beautiful, but I’m also aware of the
Kikyz1313: Everybody calls me Kikyz. I’m from one of those unwillingness of most people to objectively observe the
lovely small towns in the center of Mexico where you can inherent aesthetic within all things. I personally find the
see and smell the manure of horses outside your house, and ultimate beauty in life’s details that most people don’t bother
people set off firecrackers to make it rain. looking at, like the brief moments when someone behaves
with pure and honest intention, or when a bird is performing
Do you find that your home in Mexico and its surroundings his routine without knowing someone else is looking. I find
affect and influence your work? it extremely beautiful when the gray-blue light of the dawn
I definitely think that the cultural context of every artist hours distorts everything, fusing images together and
influences their work, and personally, I believe it’s essential resulting in a mass of shadows.
for artwork to carry a social commentary. Artists have a great
responsibility to make a public statement on the failures of On the other hand, the beauty of human entrails lies in
any system. If an artist's work evokes reactions and opinions perceiving them as part of our human description. It is only
in the audience, they can repair the gaps from within society. society's foolish idolization of immortality and perfection that
makes us fear death, and keeps us far from understanding
How did the name Kikyz1313 come about? the whole beauty in nature.
This is actually a cute story. I invented the signature with
the purpose of marking my drawings at the age of five. What have been some of the most influential events in
Kiki was my nickname, and 1313, according to my parents’ your life?
recollections, was supposed to be the date. As years passed There are two main events that have changed my life. The
Kiki slowly mutated to Kikyz, and it felt OK to continue first one was my art residency at a fishing village isolated
using it for my professional career. I think it acted as a warm in the southwest of Sweden where I had enough time and
reminder of who I am, or maybe I just like holding onto those more than enough silence to get along with myself and
childhood memories, who knows? Very few people know my appreciate nature. I was able to analyze and understand
real name. a lot of our social behaviors, but more than anything, I
realized the deliberate alienation we have from nature—
Tell me about your childhood and some of the most how the impossibility of communion induces an existential
memorable moments. void, which we later try to replace with futile materialistic
I have lots of beautiful memories, but I think the most vivid pleasures.
time of my childhood would be at the age of 10. I can picture
myself wearing the convent school's uniform during rainy I believe mankind has forced a parallel reality that’s been
summer afternoons, and spending time with my brother and absorbing everything from the immaculate and balanced
sister recording video capsules. We would invent stories organic world, sadly, to the point of thinking about ourselves
about detectives and supernatural powers and play with my as an unnecessary chaos. Nevertheless, my faith in humanity
cats. I remember I preferred to socialize with family rather was kind of restored when the second event in my life
than going out to play with the neighbors—family was the appeared. Taking the risk of sounding too romantic, I’m
most important to me. certain that meeting the love of my life has improved me
in a professional and personal way. Being a reclusive and
cautious person most of my life, marrying another artist
90 JUXTAPOZ KIKYZ1313
who understands and trusts me deeply definitely has an You don’t seem to be negatively affected by the deceased. above
An Odd Spread
immeasurable significance. What is your relationship with death? Ink, graphite and watercolor on paper
2013
Death affects me in the same way it does everyone else,
I find it super important, as an artist, to be able to engage in but it’s because of my desire to understand that I study this right
Miasma’s Trill
experiences. Do you think that comfort can be damaging? dilemma. You can say that its representation, in so many Ink, graphite and watercolor on paper
2013
No doubt, comfort in any situation can be measured with ways, helps me to assimilate death and my own mortality. It’s
mediocrity. As an artist, I like to constantly place myself through my work that I try to make people see the same thing
outside a comfort zone and challenge my capabilities so that I’ve taken from it. More than feeling afraid or threatened
I can grow both technically and ideologically. by dying, I have a deep respect for time and decay. There’s
no need to be a mortician or a forensic surgeon to face death.
Do you have any recurring dreams or nightmares? Day by day, we are all confronted with it, when we see a firefly
Actually, I do. A very recurrent nightmare that I’ve been having that died from the heat, witness a tree rotting, find a mutilated
since I was 12—I haven’t had it recently, but it constantly takes corpse of a dog at the side of the road, houses taking over
place outside of a derelict, burnt red house that is covered crops, or when we see a loved one die from disease. These
in weeds. It’s particularly in the right end of the yard where a are events that we usually live through but it seems we never
great feeling of anxiety hits me, and a geometric black steam give them the significance they deserve.
tries to absorb me. Sometimes I’ve entered the house and
tried to hide from those strange feelings, but every corner of Have you had any encounters with actual cadavers?
this house feels extremely uncomfortable. The curious part I have my bachelor’s degree as a fine artist, but
is that sometimes a regular dream leads me to the yard of nevertheless, due to the direction I wanted to take my work
the house, and I notice that I am in the same house I’ve been and my desire to further my comprehension of death, I
visiting for years. The situation develops differently every time, visited the city morgue several times. From those visits
but its appearance never changes. I obtained experiences, like witnessing the autopsies, that
allowed me to formally establish my line of work.
92 JUXTAPOZ KIKYZ1313
What are you truly scared of?
This is a little embarrassing, but I’ve always had an irrational
fear of aliens, especially the pale, dwarfish, skinny ones with
giant black eyes. Once I went on the E.T. ride at Universal
Studios back in the ’90s and became muted by fear. [Laughs]
I think that pretty much sums up my level of cowardliness.
How is your current work different from the past two series
you’ve done?
I think the most relevant differences between Cadáveres
Esquicio, Cadere Innocens and my current work resides in
the strengthening of the artwork’s objectives and intentions
as well as the technical improvement. With each work, I try to
surpass my skills narratively and technically, though I consider
myself in constant states of change. My first two series
emphasize the personal pursuit of style and a unique speech,
where the aesthetic of death is represented in a rougher and
more evident way, and my current work has more formal and
subtle solutions that aim to poeticize the abnormal.
JULY 2014 93
above
build the desired pose. Working with children isn’t particularly Are they comfortable with the idea of death? Sepulcro
easy. You can say I double the work on my pieces, but I'd I think my children are aware about time passing, and rather Ink, graphite and watercolor on paper,
mounted on board
rather have everything planned than just let ingenuity and than a comfortable feeling, they experience completeness 2012
nonsense lead my works. and merge themselves with nature. There is an intimate right
connection with both plants and animals who act as Sun Lurker— Lovecraftian Remembrance
Ink, graphite and watercolor on paper
With your renderings clearly meant to invoke an emotional companions and guidance during the next step of their 2014
response, what is the reaction most viewers have when existence—death.
looking at your pieces?
The very first reaction from people is a long muted moment. Who are they?
This is curious because just before the silence starts to get a They are my ideal conception of humanity. I think childhood
little uncomfortable, people suddenly react with an admiring is the stage that best depicts humankind, because far from
response, closing in a little more on the drawing so they are any obsession or materialistic ambition, we just get carried
more able to appreciate all the details in which the artwork away by our primal instincts and reach our personal fulfillment
is made. I think what people enjoy the most is to getting lost with the most simple things, which later become perverted,
inside the tiny atmosphere that I’m presenting, and where they forgotten or replaced by the passing of years, and inclusion
can wonder what’s happening inside there. into the economic system in order to fit the status quo.
Talk to me about your interest in anatomy, especially the How long does it take for you to complete a piece?
grotesque, and even deformed. Working on a medium size of 30x40 centimeters (11.8x15.7
Anatomy has been always a fundamental part in the inches), it takes me around 35 days to complete a piece,
artist’s education. I feel that every one of us chases the working 8 to 12 hours daily.
anatomical knowledge by means of understanding our
nature. Nevertheless, within this quest, I noticed the avid What’s next for you?
desire to detach from our internal bowels. We seem to I have a couple of upcoming events in November, a double
perceive ourselves as empty, invulnerable and perfect skin involvement at Spoke Art, exhibiting my work for the Annual
carcasses, depriving all human virtue from the entrails, the Wes Anderson tribute, as well as in the special event
diseased, deformed or even the blood for the fear to recall Thinkspace Gallery is curating. Also in December, I’ll be joining
our own ephemeral existence. Consequently, I’ve come to the Thinkspace’s booth at Miami Scope Art Fair 2014 with their
conclusion that it is the complexity of the neuronal, digestive usual extraordinary line up, and will start 2015 with my solo
or muscular tissues that truly defines the human nature, and show at Fifty24MX in Mexico City.
therefore I won’t call them “grotesque,” as they are part of
our reality. Prejudice and the heavy standards of conventional
esthetics are what induce our vision to miss and reject the
beauty within all these things. For more information about Kikyz1313, visit 1313.mx
94 JUXTAPOZ KIKYZ1313
TODD FRANCIS
INTERVIEW BY JEREMY FISH PORTRAIT BY AMBER B DIANDA
HERE IS SOME PERSPECTIVE: I doubt that NASCAR fans respect and adore the artists
and designers who decorate those racecars. But look at skateboarding: the guys who
design art graphics for skateboards are truly loved by the folks who partake in the culture.
If you ask a 30 to 40-year-old skateboard dude to identify their favorite artist, the response
is usually Jim Phillips, VC Johnson, Wes Humpston or Pushead. This genre of wooden
decoration was pioneered by them and countless others, spawning a unique category of
modern art and design known simply as skateboard graphics.
The irony is that this genre of artwork is designed to be and getting to dream up and draw crazy stuff. I knew if I Pigeon #211
Watercolor and india ink on paper
destroyed. Even though it is collected, displayed in homes, blew it, I'd be back to office jobs and a complete nightmare 15" x 22"
2013
garages, man caves, galleries and museums, the art is existence.
applied on devices that are designed to be ridden around
on. The board is used for stunts, tricks and maneuvers, At the time, I didn't look at it as a career. It was just a really
and the graphics tend to be left behind on rails, ledges and fun, creative setting to have some fun and stiff-arm the future
curbs as a reminder that someone shredded that spot. I as long as possible. To think I'd still be doing it more than 20
consider these folks to be some of the most talented artists years later is pretty funny, but it’s still fun. A good idea still
of this century. Not because I decorated a deck or two in makes me cackle like an idiot, and making people laugh or
my time, but because it’s a culture to which I subscribe, a roll their eyes or whatever with a board graphic still means
grand tradition to be respected. Todd Francis lands in this the world to me.
category of conception and execution. He has some of the
best skateboard graphics of all time with a combination of How many boards do you think you have designed at
humor, style and vulgarity that strikes the intended chord that this point?
skateboarders look for in their artwork. Ladies, gentleman and Who knows? I do know that I've got more than 300 in my
art nerds of all kinds, I present artwork and board graphics, collection, and those are just the good ones. I've done more
applied with the skill and finesse of a true master craftsman: than my share of stinkers over the years, never hung onto
Todd Francis. those. Maybe it’s like 400 or 500, or more? Who knows… and
who cares!
Jeremy Fish: Why skateboard graphics? Was it a dream
come true, or a random-ass job, and did you imagine when You once told me that 16-year-olds only want two types
you started that you would spend several decades doing it? of art: either funny or tough. You either need to make
Todd Francis: It’s funny, but doing skateboard graphics them laugh or make them feel badass, and somehow you
never seemed like a possibility in my life. Growing up, I used manage to pull off both vibes in a lot of your artwork. How
to draw random, goofy graphics on my friends’ decks. But did you develop this theory, and what are some of your
this was when Powell and SMA were dominant, and their favorite boards that illustrate this idea?
graphics were just so perfectly done, it seemed like a waste Well, that was a long time ago, and that might've been a
of time to aspire to something like that. Whenever I'd stare huge simplification of how to look at things. Doing graphics
deeply into the graphics VC Johnson did for Powell in its for over a decade with Element sort of opened my eyes to
heyday, I couldn't fathom doing anything as well as he'd possibilities of telling a story in different ways.
done those graphics. A Powell dragon sticker was something
you kept in your desk drawer for your entire life. It was just That said, I do tend to like strong reactions, and I try to avoid
so amazingly well-drawn. the dreaded “Wait, I don't get it?!” This comes from the years
I spent doing editorial illustrations and political cartoons,
Fast forward 10 years and I'd just moved up to San Francisco, where the viewer’s inability to quickly understand the point
and was working horrible office jobs to pay the rent while means you've dropped the ball. It’s immensely helpful to put
simultaneously freelancing for local free SF newspapers like yourself in a 17-year-old skate mentality, which isn't hard for
SF Weekly and the Chronicle. I was extraordinarily miserable. me because I think I'll always be stuck in that mindset. You
A friend of mine who worked at Slap Magazine heard about want to feel something strongly, and you want something
an entry level art room job that had opened at Deluxe, and powerful and authoritative to identify with.
I pounced on it. The pay and hours didn't matter one bit. It
was an opportunity to get paid to do artwork for a living, so In terms of that immediate impact, I've got a few personal
I worked at it as hard as I could. It was clearly the opportunity favorites, most of them for Anti-Hero. The Julien Stranger
of a lifetime, and I was surrounded by smart, funny people, K9 deck will always be one of my favorites, and the Cardiel
What are you working on these days? Do you see yourself niche where my art is predictable or dull. I think that's the
moving into different genres or mediums with your art? kiss of death, just doing what people want or are willing
What type of work would you like to do? to buy, instead of dreaming up what challenges you as an
I just launched the clothing line, Special Crud, with Yong- artist. I have some art shows in the near and distant future,
Ki Chang of Equal Distribution, making some nice, simple and jumping around between charcoal, inks, acrylics and
T-shirts and and some other interesting stuff. And for the last watercolor is a good adventure, and hopefully, far from
two or three years, I've been working with Anti-Hero again, predictable. Between all that and trying to be a good dad to
doing board graphics and really having a great time with it. my two daughters, I've got my hands full.
I'm always working on new studio art and screen prints and
other things, like our suicide-themed Christmas ornaments, What are your five favorite skateboard graphics of all time?
all of which are available through Equal Distribution. Plus, And in that vein, the top five favorite decks you designed?
I've got some artist projects coming out soon with Stance, Oh man, that's a tough one. Off the top of my head, I'd say
HUF, Quinton and other good people in the near future, the original Powell two-color dragon top graphic was my
which keeps things lively. This book project has also kept me favorite skate graphic of all time, because I remember just
extremely busy, with release events and art shows planned staring at it endlessly and feeling like I could never draw
in the coming months, so it should be good. like that. It was really an education staring into that sucker.
I know, it’s not a deck graphic exactly, but who cares? That
Best five I've drawn? I don't like picking out my favorites, JUXTAPOZ.COM / TODD - FRANCIS
but I always list the Anti-Hero Julien Stranger K9 Nature's
Revenge deck as probably my single favorite. From the
colors to the message and the simplicity, I do like that one.
PHILADELPHIA
PHOTOGRAPHER AND SCULPTOR ADAM WALLACAVAGE TAKES US AROUND
I SEEM TO TRAVEL A LOT, TO THE POINT WHERE SOME Murals,” and for good reason. Numerous projects and George Draguns
Layback Roll Out
people assume I live in NYC or Los Angeles. The fact is that ongoing programs give this city a fantastic range of public (3)
CEMETERIES
I love visiting cemeteries whenever I travel to a new country
or town, and Philadelphia has some of the oldest and most
beautiful I can think of. Laurel Hill Cemetery 2 is my
favorite. Founded in 1836, Laurel Hill spreads over 74 acres
and hosts many events such as the vintage hearse meet that
happens in the summer.
If you want to eat tacos, the Italian Market area on south 9th
Street has about 500 taquerias. I don't know why. It's weird.
There weren't any 15 years ago, but now it's ridiculous.
5 7
SHOPPING fast in Philly. Two of my favorite venues are Union Transfer Artwork by Martha Rich
(6)
Two of my favorite stores are Anastasia’s Antiques and Prof. and Kung Fu Necktie. Union Transfer is in a beautiful old
Ouch’s Bizarre Bazaar And Odditorium. Anastasia’s is a building built in 1889, with gorgeous, sparkling chandeliers
beautifully curated antique store full of Victorian treasures. hanging from some 50-foot high ceilings, and the acoustics
Bizarre Bazaar is a store founded by a true original in the are unbelievable (Band: The Residuels). Kung Fu Necktie
world of wacky weirdos and goofy guys, Professor Ouch, aka is a smaller venue and can get crowded, but if you squash
Furry Couch. He was into collecting the strange and unusual yourself into the front, you will be right there next to the
back when it was still strange and unusual. stage (Band: Cream Circus).
Space 1026 6 is an art gallery and studio founded by a Other great places to see bands are at basement shows
group of artists and skateboarders who returned to Philly and block parties 7 . These are usually put together by
from Providence, RI inspired by the studios of Shepard Fairey people associated with the Philly Punx Picnic. I never really
and Fort Thunder in the ‘90s. It was simply a space where know how to find them on my own, so I just ask my friend
people could collectively work together and have studios, Johnny. But if you see someone with a DIY tattoo, they could
silkscreening facilities, and a gallery. Originally thought of probably point you in the right direction for a couple beers.
as a five-year experiment, Space 1026 still thrives today as a
great art community that constantly changes with its rotating
cast of characters.
For more information about Adam Wallacavage,
visit adamwallacavage.com
MUSIC
Philadelphia is a great city to see bands play, just the right
JUXTAPOZ.COM / ADAM - WALLACAVAGE
size so that sold-out shows in NYC might not sell out so
SEVEN ON SEVEN
TECHNOLOGY AND ART IN COLLABORATION AT THE NEW MUSEUM
WHILE COLLABORATIONS ARE POPULAR IN THE Whatever it is that they come up with, they will exhibit the Hannah Sawtell and Avi Flombaum
Image courtesy of Rhizome
art community, it’s not automatic to usher multiple artistic work at the New Museum in New York. As we touched on and New Museum, New York
visions and distill them into a single project. Introducing an in one of the earlier Beautiful Bits piece, the New Museum
artist and partnering them with someone in a completely is doing some really creative and exciting stuff revolving
different field seems like an even more daunting venture. around digital art and what that means today. It’s inspiring to
Yet this is what Rhizome has just done at their Seven see them jumping in to this plan headfirst and giving it their
on Seven conference, pairing seven artists with seven all in this odd new world. —Nick Lattner
technologists to form seven teams who have 24 hours to
develop something new. Something new is a pretty broad
term, but I assume placing restrictions on the project was
only going to make the two different sides of the brain that For more information about the New Museum, visit newmuseum.org
THE DRAWINGS OF LAURIE LIPTON STATUS FACTORY: THE ART OF RON ENGLISH INCURABLE DISORDER
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REVIEWS
BOOKS
THE TITLES JUXTAPOZ IS CURRENTLY READING
GORGEOUS
SFMOMA ON THE GO AT THE ASIAN ART MUSEUM
THE DOORS OF THE SFMOMA ARE SHUTTERED DURING parts of other stories. Even if the works are just across town, above left
Jeff Koons
the current expansion, but the artwork refuses to be we see them a little bit differently. Michael Jackson and Bubbles
Ceramic, glaze, and paint
confined and is “On the Go,” with dynamic partnerships Collection SFMOMA
Purchase through the Marian and Bernard
at local venues. Say Gorgeous aloud, think about what As a collaboration and juxtaposition of creative works, how Messenger Fund and restricted funds
© Jeff Koons
the word elicits, and experience the works grouped with does this exhibition differ from last year’s Beyond Belief Photo by Ben Blackwell
collections from the Asian Art Museum. collaborative exhibition with the Contemporary Jewish 1988
With many objects from the Asian Art Museum being over
two thousand years old, are you asking viewers to re- CH: I’d say this is a re-examination of beauty. Or maybe just
examine the traditional connection of youth and beauty? a chance to start examining how we think about beauty.
AH: That’s interesting. I see how, for human beauty, there has We’re asking people to consider it as they might not have
traditionally been a connection to youth. For art, however, I before, putting it into a context where we start to notice its
think we often see age as a rationale for beauty, like patina or ambiguities and limits. That’s radical, whether or not it’s a
ruins. Old objects connect us to the past, representing bygone youthful impulse.
ideals that we might strive to attain again. In this show, we’re
not intentionally setting up a dichotomy of “old” things from How did you decide on the groupings of art? Did you
the Asian and new from SFMOMA. The objects came from literally look at your respective collections and take notes?
distinct traditions and cultures. AH: We walked through each museum and shared responses
to works on view. The groupings were the result of a lot
CH: We’ve been working on this a long time, and it’s a great visitors that the “tombstone” information we put on a label right
Robert Smithson
concept to have in the back of your mind as you go about doesn’t tell the whole story. We include that, of course, but Non-site (Essen Soil and Mirrors)
Soil and twelve mirrors
daily life at the museum. I would come across an object and there’s more to these objects than just knowing their maker, 36" x 72" x 72"
Collection SFMOMA
say to my partner on the show, Janet Bishop, “What do you the culture they come from, or their intended use. The Purchase through a gift of Phyllis Wattis
think about this for the Gorgeous checklist?” Or sometimes texts encourage a viewer to engage with the art in a more and the Accessions Committee Fund: gift
of Collectors Forum, Doris and Donald
having seen a piece in the Asian Art Museum would spark an personal way. Fisher, Patricia and Raoul Kennedy, Elaine
McKeon, Helen and Charles Schwab,
idea and we’d decide to go view a work in storage. Norah and Norman Stone, and Robin
Wright
AH: What is gorgeous to me will likely be different from what © Estate of Robert Smithson / Licensed by
VAGA, New York
I doubt you’ll declare a favorite, but please try and tell is gorgeous to you. We wanted the voices in the show to be Photo by Ben Blackwell
me anyway. personal as a way of underscoring the subjective nature, so 1969
CH: I love so many, but to get off the fence, I’m especially we signed the labels and focused our writing around how
excited to see the Dan Flavin corner piece, something we’re we experience the works. Art historical context is important,
showing for the first time since it entered the collection. And but we find that the works in Gorgeous push boundaries
from the Asian Art Museum, I’ve come to love three works and provoke in ways that go beyond the sum of factual
particularly: the Mythical Bird-man sculpture from Thailand, information. We hope that this experience of the art will
the red Qing dynasty lacquered chair and the Han dynasty come before the text.
ceramic figure, all different, and each tremendously affecting.
PRODUCT
THINGS JUXTAPOZ IS AFTER
LET’S THUMB THROUGH THE UTILITARIAN AND TACTILE Mills' White Oak plant in Greensboro, cut and sewn in San
products that we came across this month. The simple art Francisco. Recently, the Tellason team wanted to make
of a well-constructed sweatshirt, bag, or innovative paint a fleece shaped in the same vision as their high quality,
technology is craftsmanship we want to share with you, so everyday classic jeans. Not only is the Crew Fleece 2
here are a few brands we spent time with recently. They each the perfect grey sweatshirt everyone needs, it’s made to
make the right stuff with the right stuff. last for life.
tellason.com
Ricky Powell is the human History Channel. Not only can you
sit down and learn about the early days of NYC Hip-hop and Montana Colors has been synonymous with high quality,
graffiti culture, but he’ll weave street culture throughout the made-for-graffiti-writers-by-graffiti-writers spraypaint since the
five boroughs. Chrome teamed up with Powell on this limited writing’s been on the wall. And like any smart art company,
edition, made-in-the-USA Citizen Messenger 1 bag, fully they aim to offer everything you need in your box of crayons.
illustrated with Ricky’s classic photographs. He even asked The Montana Colors Water Based Spraypaint 300 3 is their
Chrome to make the inside of the bag his favorite color, new paint “formulated with low-odor resins, which are water-
purple, the color of royalty. A custom patch based on his soluble and also pigments of the highest quality.” We have
iconic hand radio commemorates the project. been using it for all indoor works, and we are sold. There are
chromeindustries.com 52 colors for you to choose from… get working.
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For five years, Tellason has been making some of the finest
denim jeans around, using fabric from the venerable Cone
RIP OKMT
PASSION PROJECTS
So as not to end this article on a sour note, I'd just like to state
that operating a commercial gallery with my friends for over a
decade has been one of the best experiences of my life. The JUXTAPOZ.COM / MICHAEL - SIEBEN
LOS ANGELES
JUXTAPOZ PSYCHEDELIC BOOK RELEASE PARTY AND ART EXHIBITION AT THE WELL
1 1 2 2 33 4
5 6 7 8
1 | Ryan de la Hoz fronting his piece at 4 | When celebrating psychedelic art, you must 7 | Juxtapoz Psychedelic book editor Hannah Photography by Sam Graham
2 | Alex Grey and his wife Allyson entertained 5 | Art Alex (Pardee) and Juxtapoz Alex 8 | Madsteez and Shark Toof
by live painting throughout the night for the (Nicholson)
crowds
6 | More fun with “Future Eyes,” with or without
3 | Good friend Sean Newport had a series of psychotropics
great paintings on display
LOS ANGELES
THE GAY 90’S WEST AT KOHN GALLERY AND BRITWEEK AT COPRO GALLERY
1 1 2 2 33 4
5 6 7
1 | The best part of the Ryden opening at Kohn 4 | Anthony Ausgang and Rick Morris 6 | RETNA and BritWeek’s Charlie Jane Photography by Sam Graham
I THINK MANY OF YOU SHARE MEMORIES OF SEEING there is a relentless sense of exploration. One of the best Illustration by Travis Millard
one of Shepard Fairey’s iconic Obey Giant wheatpastes lectures I ever heard was from Shepard at SFMOMA, right
around the world. I remember, after a long overnight flight as his seminal monograph, Supply & Demand, was released.
from San Francisco to London, being dead tired, riding in Talking about being creative, challenging the system, and
a taxi on the M4, entering central London from Heathrow, channeling your influences into something greater was
and seeing that ominous, all-knowing Obey icon positioned pivotal in my life, and I’m sure the same is true for countless
perfectly, centered and straight, on probably the most visible others. Even as Shepard opens the new body of work,
billboard in all of the metropolis. It seemed, in the city of Power & Glory within The Insistent Image: Recurrent Motifs
Orwell and CCTV, that Shepard had made his statement in the Art of Shepard Fairey and Jasper Johns, I smile at
at the entrance to London. All who pass shall know. And remembering those moments on the M4, or in San Francisco,
knowing Shepard, I thought to myself, “Damn, even he has to or LA, or anywhere else in the world where the Obey Giant
be happy with that spot. You can’t beat it!” still looms large, and the joys of disrupting power take flight.
—EP
But again, knowing Shepard, the drive will always be
there. Maybe I didn’t realize the extent to which his drive
appropriates itself until I interviewed him for this issue,
but the reason there is the Obey street campaign, fine JUXTAPOZ.COM / PERSPECTIVE
art, clothing, gallery, and commercial projects is because
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