Juxtapoz: Difference between revisions
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Unique in the field of publishing, ''Juxtapoz'' emerged at a critical moment during the genesis of the late-20th Centuy underground art movement with the mission of connecting seminal modern genres like psychedelic and hot rod art, graffiti, street art, and illustration, to the context of broader more historically recognized genres of art like Pop, assemblage, old master painting, and conceptual art. Although based in San Francisco, ''Juxtapoz'' was founded upon the belief in the virtues of Southern California Pop Culture and the freedom from the conventions of the "established" New York art world that governed the industry. Ferus Gallery, run by Walter Hopps and Irving Blum in the 1950s and 1960s was the ultimate cultural touchstone for the magazine. |
Unique in the field of publishing, ''Juxtapoz'' emerged at a critical moment during the genesis of the late-20th Centuy underground art movement with the mission of connecting seminal modern genres like psychedelic and hot rod art, graffiti, street art, and illustration, to the context of broader more historically recognized genres of art like Pop, assemblage, old master painting, and conceptual art. Although based in San Francisco, ''Juxtapoz'' was founded upon the belief in the virtues of Southern California Pop Culture and the freedom from the conventions of the "established" New York art world that governed the industry. Ferus Gallery, run by Walter Hopps and Irving Blum in the 1950s and 1960s was the ultimate cultural touchstone for the magazine. |
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''Juxtapoz'' originally reflected Williams' own |
''Juxtapoz'' originally reflected Williams' own [[Kustom Kulture]] sensibility—a combination of California [[Ed Roth|"Big Daddy" Ed Roth]]-style [[pop surrealism]] (identified by some as synonymous with low brow art and others as its own genre, as detailed in low brow art entry)<ref>[http://www.lowbrowartworld.com/robert_williams.html LowBrow Art World]</ref> and the serious figurative craftsmanship that is more likely to be found among [[illustrator]]s than [[fine art]]ists today. |
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Despite the graphic origins of the magazine, ''Juxtapoz'' evolved greatly in the early 2000s to embrace and chronicle many other nascent styles and sub-genres of underground art, becoming the singular voice for the movement as a whole in the process. Today, ''Juxtapoz'' is widely credited with being the unifying force that drew together the various satellite art movements like street art and Pop Surrealism, into one coherent movement of "alternative art" that evolved so rapidly during the late '90s and early '00s. |
Despite the graphic origins of the magazine, ''Juxtapoz'' evolved greatly in the early 2000s to embrace and chronicle many other nascent styles and sub-genres of underground art, becoming the singular voice for the movement as a whole in the process. Today, ''Juxtapoz'' is widely credited with being the unifying force that drew together the various satellite art movements like street art and Pop Surrealism, into one coherent movement of "alternative art" that evolved so rapidly during the late '90s and early '00s. |
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Revision as of 19:42, 14 August 2010
Juxtapoz Art & Culture Magazine (pronounced Jucks-tah-pose) is a magazine created in 1994 by a group of artists and collectors including Robert Williams[1], Fausto Vitello, C.R. Stecyk III (aka: Craig Stecyk), and Greg Escalante, to both help define and celebrate urban alternative and underground contemporary art. It was edited from 1996 to 2006 by Jamie O'Shea. Juxtapoz is published by High Speed Productions, the same company that publishes Thrasher Skateboard magazine in San Francisco, California.
Unique in the field of publishing, Juxtapoz emerged at a critical moment during the genesis of the late-20th Centuy underground art movement with the mission of connecting seminal modern genres like psychedelic and hot rod art, graffiti, street art, and illustration, to the context of broader more historically recognized genres of art like Pop, assemblage, old master painting, and conceptual art. Although based in San Francisco, Juxtapoz was founded upon the belief in the virtues of Southern California Pop Culture and the freedom from the conventions of the "established" New York art world that governed the industry. Ferus Gallery, run by Walter Hopps and Irving Blum in the 1950s and 1960s was the ultimate cultural touchstone for the magazine.
Juxtapoz originally reflected Williams' own Kustom Kulture sensibility—a combination of California "Big Daddy" Ed Roth-style pop surrealism (identified by some as synonymous with low brow art and others as its own genre, as detailed in low brow art entry)[2] and the serious figurative craftsmanship that is more likely to be found among illustrators than fine artists today.
Despite the graphic origins of the magazine, Juxtapoz evolved greatly in the early 2000s to embrace and chronicle many other nascent styles and sub-genres of underground art, becoming the singular voice for the movement as a whole in the process. Today, Juxtapoz is widely credited with being the unifying force that drew together the various satellite art movements like street art and Pop Surrealism, into one coherent movement of "alternative art" that evolved so rapidly during the late '90s and early '00s.
One of the most notable contemporary artists to rise to prominence in the pages of Juxtapoz is street artist and graphic designer Shepard Fairey whose "Obey Giant" street art campaign revolutionized the movement. In 2008, after a string of sold-out international fine art shows, Fairey gained international renown when he created the signature campaign artwork for Barack Obama's presidential campaign. More than perhaps any other, this single event signified exactly how far the underground art world had come in such a short time.
Many renowned young artists received their first serious recognition in Juxtapoz, including KAWS, Mark Ryden, Barry McGee, Todd Schorr, Camille Rose Garcia, Tim Biskup, and Tom Sachs, among others. One of the most marked virtues of Juxtapoz has always been its egalitarian curating mandate that no degree of fame or success in the art world was required for consideration in the magazine's pages. Good work and great imagery was any artist's ticket to the show.
Currently, Juxtapoz has the largest circulation of any art magazine in the United States.[citation needed] In addition to printed subscriptions which offer alternative cover images to the newsstand version, Juxtapoz is also available as an on-line digital subscription.
Gwynned Vitello, C.R. Stecyk III, along with Williams, are executive editors.
See also
References
External links
- Juxtapoz official site
- Photos from In the Land of Retinal Delights: The Juxtapoz Factor, an exhibition curated by Meg Linton, (Exhibition announcement)