April 2014 Juxtapoz

Citation preview

ART + CULTURE + DESIGN

ANDY REMENTER

WITH TIM BARBER, MICHAEL JOHANSSON, HOW NOSM, TEEN WITCH & MORE

ANDY REMENTER

TIM BARBER

TEEN WITCH

MICHAEL JOHANSSON

HOW NOSM

APRIL 2014, n159

HORT

$5.99

APRIL 2014, n159

LIMITED EDITION CO-LAB AVAILABLE NOW

Juxtapoz

issue #159 / april, 2014

10

Contributor Spotlight

14

introduCtion

18

the report

24

piCture book

32

deSign

36

faShion

40

event

44

Sieben on life

48

andy rementer

58

michael Johansson

68

tim barber

78

hannah stouffer

86

andrea sonnenberg

94

christian rex van minnen

104

travel inSider

108

beautiful bitS

110

book reviewS

114

profile

118

produCt reviewS

120

’Zine reviewS

122

pop life

126

perSpeCtive

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City 4 Color Screenprint 16" x 20" by Andy Rementer

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JUXTAPOZ ISSN #1077-8411 APRIL 2014 VOLUME 21, NUMBER 4

ART + CULTURE + DESIGN ANDY REMENTER

Published monthly by High Speed Productions, Inc., 1303 Underwood Ave, San Francisco, CA 94124–3308. © 2014 High Speed Productions, Inc. All rights reserved. Printed in USA.

WITH TIM BARBER, MICHAEL JOHANSSON, HOW NOSM, TEEN WITCH & MORE

Juxtapoz is a registered trademark of High Speed Productions, Inc. Reproduction in whole or in part without written permission is prohibited. Opinions expressed in articles are those of the author. All rights reserved on entire contents. Advertising inquiries should be directed to: [email protected]. Subscriptions: US, $34.99 (one year, 12 issues) or $75.00 (12 issues, first class, US only); Canada, $75.00; Foreign, $80.00 per year. Single copy: US, $5.99; Canada, $6.99. Subscription rates given represent standard rate and should not be confused with special subscription ofers advertised in the magazine. Periodicals Postage Paid at San Francisco, CA, and at additional mailing ofces. Canada Post Publications Mail Agreement No. 0960055. Change of address: Allow six weeks advance notice and send old address label along with your new address. Postmaster: Send change of address to: Juxtapoz, PO Box 884570, San Francisco, CA 94188–4570. The publishers would like to thank everyone who has furnished information and materials for this issue. Unless otherwise noted, artists featured in Juxtapoz retain copyright to their work. Every efort has been made to reach copyright owners or their representatives. The publisher will be pleased to correct any mistakes or omissions in our next issue. Juxtapoz welcomes editorial submissions; however, return postage must accompany all unsolicited manuscripts, art, drawings, and photographic materials if they are to be returned. No responsibility can be assumed for unsolicited materials. All letters will be treated as unconditionally assigned for publication and copyright purposes and subject to Juxtapoz’ right to edit and comment editorially.

APRIL 2014, n159 $5.99

Cover by Andy Rementer Love It Of set poster 18" x 24"

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contributer spotlight

DaviD Molesky An Appointment with ChristiAn rex vAn minnen

I’VE BEEN AROUND THE WORLD AND BACK AND I’m still hungry. My quest to devour the craft of painting first led me to San Francisco, then Indonesia, LA, and finally to Europe, where I worked with reclusive Norwegian master Odd Nerdrum. He was the final destination to complete my training in what some call indirect painting, a chess-like approach, slowly building multiple layers of paint to achieve an efect not possible in alla prima (one layer) painting. I’m just back to my Atlantic Coast roots after 18 years on the Pacific—moving to the West Village of New York City. I grew up near the wilds of the Potomac River near DC, where a special high school teacher fueled my addiction to oil painting. This wasn’t an extracurricular activity, this period of my life was full-on—after several hundred paintings, I developed my way of moving paint around that seems constant, even as my style changes. Now, in the Big Apple, I’m meeting a whole new collection of artists around my age who are thriving. Christian Rex van Minnen is one of them. We are both fascinated by historical techniques, geeking out over everyday topics like dynamic mixing and compositional geometry. Visiting Christian in his Brooklyn studio, he opened up about his process

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contributer spotlight

even before he knew I’d write about him, detailing his underpainting process and color glazes. It’s been fairly revolutionary. I generally just jump right into thick color and big forms, working out the tedious drawing aspects as I hone in on a finished look. Careful drawing or underpainting, at first, just seemed overcautious and boring to me. But Christian has so much fun at the underpainting level, whimsically inventing imagery and cracking himself up in the process, that I had to see for myself. Gearing up for two solo shows this year, I’ve added some of Christian’s techniques into my bag of tricks. I’ve been putting more efort into carefully developing underlying drawings and alternating transparent color for added dimension. Where this will lead, no one can tell. But the journey is where it’s at.

Read David’s interview with Christian Rex van Minnen on page 94 juxtapoz.com / christian-rex-van-minnen

“The Last Pearl” a solo exhibition by

Vincent Xeus

"e Education" diptych, oil on wood panel 30” x 40”

“Glimpse” oil on linen 30” x 30”

“Imprint” oil on linen 24” x 20”

Vincent Xeus’ extraordinary skills and profound vision place him among the leading figures in the contemporary art scene. xeus’ enigmatic works of art are the art of illusion, mystery, and introspection. Opening March 8 - April 5, 2014 Artist reception March 8th at 7pm Preview Available

e-mail: [email protected]

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introduction

issue No 159 REMEMBER FIVE YEARS AGO, when there was a rush of excitement surrounding the future of what was being looked at as a dying medium? Apple was going to launch a tablet that was about to revolutionize the industry, bombarding us, in the press and within the publishing world, with these messages: Print is dead, paper is disintegrating, tablets are here, this is the Sports Illustrated app for your iPad, the future is now and you’re late to catch the crazy train to a future rich in digital platforms. Those of us in the independent publishing world began looking at the behemoths of our industry and started finding ways to adjust to a paperless world. I even started to channel Michael Scott's amazing eulogy on the Ofce... "Limitless paper in a paperless world." Maybe the end was near for the printed medium, and we were all angling to find our place. Fast-forward to 2014. Printed Matter hosted their 2nd Annual LA Art Book Fair at the MOCA's Gefen Contemporary, a continuation of their successfull, almost decade-long running NY Art Book Fair. In the center of what is normally a massive structure for major exhibitions and projects, Printed Matter invited a collection of businesses involved in the world of "Artists’ books, art catalogs, monographs, periodicals, and ’zines to be represented by “over 250 international presses, booksellers, antiquarians, artists, and independent publishers." We were one of these independent publishers, and to be honest, were thrilled to be among the 250 in one place, sharing ideas, celebrating a love for printed products, of texture and tangible art. You had vintage Ed Ruscha prints spread out, John Baldessari pillowcases in another room, stacks of Andy Warhol books, a queer zine retrospective on the balcony and an entire hall dedicated to new ’zines and magazines. For someone like me, or for anyone who reads this magazine, it was like being the veritable kid in a candy store, surrounded by the myriad of reasons you care about art and community. By the end of the four days of the LA Art Book Fair, 25,000 people had walked through the Gefen, happily laden with bags of goodies, fully supporting print—its past, present, and future. This isn’t some fad, nor am I expounding on the pitfalls and limitations of tablet publishing. Juxtapoz loves the digital realm, revels in the endless possibilities of our website and cheers the growth of our digital subscription base. But there was something emblematic about this fair, and the current state of independent

Alana Dee Haynes, film photographers Tim Barber and Andrea

publishing: No matter your bottom line or potential monetary

Sonnenberg, or How Nosm participating in a print studio visit

gains, people treasure the face-to-face exchange of goods

residency. This past month gave us a newfound energy, and

that can be touched and collected. Am I romanticizing the fact

whether we are 25,000 or one million strong, the fact remains:

that for an entire weekend, 25,000 of us were on the same

there is a major movement promoting the power of print that

team, excited for each of our projects? Not if there is a creative

makes our world feel like a good place.

community to which we belong that supports such endeavors that, in these 20 years, are cherished more than ever. April 2014 looks to the artists who thrive in this printed world, whether it be Andy Rementer, Christian Rex van Minnen,

Enjoy #159

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the report

On Pace, new Scale How Nosm work witH priNt masters, pace priNts

WHEN IT COMES TO EXHIBITING FINE ART EDITIONS, NYC's Pace Prints has been the pantheon for some of the most important artists of the day, ushering the careers of a wave of up-and-coming museum staples, such as George Condo, Julian Schnabel, Shepard Fairey, Chuck Close, Ryan McGinness, Ghada Amer, Erik Parker, and Ed Ruscha. The list of artists who have made prints with Pace Editions and shown in the Pace Prints gallery is enviable. This Spring, NYC's mural experts (and twins) How Nosm will turn their massive paintings into fine art editions, challenging themselves with new methods and practices that not only make the process exciting, but possibly career changing. Here is the story, in their words. "Never before had we worked with print media, so naturally everything had to be learned from the ground up, and we have to admit, it was a big challenge for us. Not only was it a diferent work process, but just the impressive history of Pace's collaborations and the respect rendered at the institution meant there was pressure to create powerful

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pieces. Having been given this opportunity, we felt the need to intensify our eforts, being that we are the only contemporary artists grounded in grafti that they have shown. And because of this, we recognized the significance of this next stage in our careers. "We normally work as a team of two without any assistance, but we found that communication is key when we started working at the Pace screen printing studio at Watanabe Press in Brooklyn. A How Nosm painting is usually started on a white canvas, and we first create the entire drawing in black outline without any background planned. No colors or shadings. These aspects fall into place later as the drawing develops. When we arrived at the press, Jo Watanabe and his team expected to have material that was all set for printing. But we didn't have that ready, so for the next two weeks, we created diferent images on mylar for the various print sizes, which we could mix up eventually to create totally diferent looking prints.

Beyond the story: It doesn't get more international than How and Nosm: Born in San Sebastián, Spain, raised in Düsseldorf, Germany, and transplanted to the Bronx to become prominent members of the grafti collective TATS CRU, their partnership has never waned. They continue to travel the world with major mural projects, as well as painting exhibitions.

Photographs by Austin Kennedy Courtesy of Pace Editions right Irregular Heartbeat 30" x 40" Photo by Monica Müller

We never reuse a drawing for our paintings. Everything is one of a kind, which is very important to us when it comes to our paintings. But these monoprints are unique as well. We managed to get very close to the originality and authenticity of our paintings in the print studio. We normally spend about five to six weeks on one painting, working on it non-stop, but with prints, that’s impossible. Not only did we have to work on separate prints constantly, but also on diferent images, already having added hand finishing to diferent layers. There was a lot of back and forth without ever completing one. The prints took six months to finalize instead of the expected three or four months. We didn't anticipate this since we usually know our own time frames, but like we said, we normally just work as a team of two! The result is our first show with Pace Prints, and not only are we excited, but very proud. At one point during the process, Jo Watanabe

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the report

reminded us that he and his team do sophisticated printing, and this really let us see the intricacies of this art. We believe we graduated with honors, but also showed the veterans some new possibilities.

For more information about How Nosm, visit howandnosm.com How Nosm's exhibition at Pace Prints runs through April 5, 2014 juxtapoz.com / how - nosm

above left Through the middle 40" x 40" Photo by Monica Müller

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Professor of Art History, Author of Van Gogh’s Untold Journey

MFA DEGREES IN DRAWING PAINTING MINORS IN CREATIVE WRITING ART HISTORY SCULPTURE

BFA DEGREES IN FINE ARTS DESIGN + DIGITAL MEDIA GAME ART ANIMATION ILLUSTRATION

LCAD.EDU/juxtapoz PHOTOS: XUN CHI

THE RESERVE TWILL PANT

picture book

John oliver hodges I Wonder as I Wander

UNEARTHING A SUBTEXT ABOUT THESE ARRESTING photographs may prove challenging, if not impossible, unless you get in contact with John Oliver Hodges himself. Not that they require an explanation or backstory, but curiosity is aroused when encountering possibly uncomfortable or unusual situations, and there is no shortage of them in these photographs. What little I do know is that the majority were taken between 1984-1987 in various locations around Florida, predominantly Daytona Beach. They could be viewed simply as artful documentation of culture in a particular region of the U.S. during the ‘80s. Or they might possibly be seen as an introspective collection of a diverse group of individuals, that is, a series of portraits. The benefit of revealing nothing is that it opens the gate

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for interpretation, speculation and imagination. Feel free to create your own narrative. —Austin McManus John Oliver Hodges grew up in Florida where he first started taking photos and was a guitarist for the band Hated Youth. In addition to books of photography, Girl Crazy and Squares available from Hamburger Eyes, he also writes fiction in a new collection of short stories and photographs out called The Love Box. His novella, War of the Crazies, is about commune life in upstate New York during the Reagan years.

juxtapoz.com / photography

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design

Who hears the hort? Berlin design group is 20 years strong

MAYBE YOU DIDN'T REALIZE, BUT SOME OF US HAVE been waiting our entire lives to see an athlete like LeBron James get run through a Bauhausian filter. We are out there, trust me. For 20 years, Berlin-based collective HORT has been transforming music, sports, print, and branding projects into a hybrid of contemporary design with an adherence to classic and sophisticated practices of times past. From unique typographic treatments, to groundbreaking methods of working with sports and athletics, HORT founder Eike König playfully calls the studio a "place to learn, a place to grow, and a place that is still growing." Maybe now is a good time to tell you that in German HORT translates to “after-school care club.” From projects with Nike, Volkswagen, and IBM to rebranding the iconic Bauhaus Dessau Foundation, HORT's growth is a design gain. Evan Pricco: What is the biggest diference in design since you began in 1994 to today, 20 years later? Talk about some of the trends and styles that have emerged and stayed with contemporary design for better or worse. HORT: There is not much diference in the needs of clients or how to show information, but graphic design has just evolved. Contemporary design is still contemporary—part of the now. I think it would just be strange if solutions we develop would look the same as 20 years ago.

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Who is HORT? How many are there, and where are you? We are based in Berlin, Germany. HORT is the overarching collective of the people who work here, there is no one HORT. We tell people simply that we are a highly creative team from around the world. We are 7 members at the moment—an ideal amount for a group. You do a lot of sports design work, but also print looks for magazines and branding for books and bands. What I love is that no matter if it’s Lebron James or a book for the Bauhaus Dessau Foundation, the look of the project doesn't waver from your aesthetic. How do you get sports and fine art to exist on a similar plane? It's not about the form—it's about the concept. The concept will shape how it will look. That's easy. So if we design for LeBron, we for sure have in our mind that it will be for one of the most successful basketball players of all time. Bauhaus needs a total diferent perspective and answer on design. So we focus on the needs and not on our ego. When you began the agency, what are some of the lessons you learned that helped you grow into what HORT is today? I started in 1994, and the biggest lesson I learned is that I like to invest in relationships rather than success and money. It's all about the people.

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What was the last project you saw by another designer that you wish you had done? I don't really check out other peoples work. It's the work the HORT people are working on that inspires me most. What does your ofce look like right now? What is hanging on the walls and inspiring you? As I am collecting art, especially photography, there are some artworks of some artists I really admire. I'm very much inspired by fine art, and right now, I'm really into the works of Martin Kippenberger.

For more information about HORT, visit hort.org.uk juxtapoz.com / design

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fashion

AlAnA Dee HAynes If you could read my mInd

WE ALL SEE THE WORLD THROUGH A SLIGHTLY diferent lens, and a good photograph, painting, movie, or song beckons us to see, hear, and maybe even feel, in a fresh way. Among other things, Alana Dee Haynes sees patterns. And she has found a way to share, or perhaps just remind us of that perspective in a very literal sense, by drawing those patterns and details on photographs: snapshots of what someone else sees. This led to drawing patterns on what someone else wears, sharing her subconscious in a tactile and relatable fashion. Alex Nicholson: Growing up in New York, where you also studied fashion for a while, did the culture and atmosphere have an influence on your pursuit of art? Was there that emblematic specific moment that led to the decision? Alana Dee Haynes: I think a lot of my creations as a young child were artistic omens for the future. I was raised on art; it’s in my blood. I always went to schools that were very

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art heavy, and my parents would take me to galleries and museums frequently. I’m not sure if there was a definite moment, but I don’t think I ever wanted to do anything else. I love the NYC art world and finding creative minds around every corner. It’s always changing and exciting. There is always inspiration and people building uniqueness together. Your work uniquely combines photography with illustration and fashion. Has the direction in which you've taken your art significantly changed over the years, and how have your interests evolved? My style hasn’t changed too much. Since I can remember, I’ve been drawing lines and dots into patterns. I’ve definitely started to focus more on fashion. There are always slight changes that happen based on my surroundings. I am still young, so for me, the past years were training for what I’m doing now, and I am interested to see how my art will change.

The patterns and shapes you choose for each piece always seem to fit perfectly with the image, like they were just meant to be together. Can you explain how an image and photograph might influence your illustration, or vice versa? What do you see in a photograph that inspires you to draw on it? Everyone has a certain way they see the world. Some things jump out at people, while others pass them by. I see faces and patterns everywhere. When I look at people, I connect their beauty marks, and find faces in their knuckle lines. It’s just the way I live. So, naturally, I see these things in photographs too. It is not synesthesia, but it is a similar way of viewing multiple layers in things. I think other people must feel this way as well, and that is why it feels right and relatable to see images this way. You draw inspiration from nature, and this is evident in your illustrations. Do you think we subconsciously

find these types of patterns more visually appealing or comfortable because they are what makes up the natural world around us? It’s funny because nature is so close to us, but also still so outrageous. I can look in amazement at the pulp in a clementine every time because it has just been formed so delicately and beautifully. It is comforting to look at those patterns and feel connected to the eccentricity of nature. At least for myself, looking at water makes me feel beautiful, and the fluidity of drawing these patterns is very calming. I think people tattoo animals, waves, and flowers to bring those things closer. What we can’t be is always appealing. You interned at the International Center of Photography (ICP) and have cited Diane Arbus as someone who influences you. What is it about Arbus that you relate to? Yes, I love Arbus! I was exposed to her work while at ICP, and then watched the film, Fur, about her life. It really spoke april 2014

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to me—the way she picked up on the smallest details of the world, and was in love with the mutations the world creates within us all. I saw a lot of myself in her. The way she stuck to her principles really inspired me. How is photography a part of your work, and what led to you illustrating directly on it, rather than in a separate form? The internship at ICP really allowed me to push myself in any direction I saw fit. My teacher, Keisha Scarville, let me run wild with my final project. I used the darkroom to create double exposures and drip the developer on the paper so only parts of the twisted image would appear. I drew lines in the white areas. It was the first time I felt like my art was completed (I am one of those people with 1,000 unfinished sketchbooks). From there, I just couldn’t stop drawing on photos, and after some time, it became more natural to draw on images other than my own. I was less in my head about all the personal meanings with the image and was able to let loose. While studying fashion, you spoke about rebelling against the traditional assignments and finding your own fashion. Do you mind talking about what turned you of, as well as your personal concept of fashion? Looking back on it, I think the rebellion came from selfconsciousness. I had just come out of ICP where I could express myself creatively, then dove into a world with so much structure and concern about technical skill. I’ve never been that great of a student, although I find education and self-experimentation very important as a practice to continue throughout life. In school, I had a personal style, comprised of mostly oversized black shirts, but I didn’t consider it fashion. As I continued to draw on clothing, I felt a strange connection between the fabric and how I relate to skin. It was so similar to draw on, with lines and curves like in the human form. Before I knew it, I was coming up with clothing designs, a bit of a diferent style of sketching than a designer, but it really inspired me to bring these creations to life. When it comes down to it, I believe fashion should bring out emotions and be relatable, as if wearing your own skin and mind. And my skin is definitely full of faces and patterns.

For more information about Alana Dee Haynes, visit alanadeehaynes.com juxtapoz.com / fashion

top left Photo by Jae Kim

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event

Louisiana surreaL CeLebration Marcus Howell wins tHe prize, and lsu takes tHe baton

WHEN IT WAS ALL SAID AND DONE, BATON ROUGE Gallery's director, Jason Andreasen, asked what I thought of their Surreal Salon soiree, and I thought it was arguably the best party I ever attended. Having only read about the surrealist balls they used to throw in the 1930s with Salvador Dalí, Andre Breton, Edward James and the others, I wondered why this amazing form of otherworldly celebration vaporized—an art crime of the highest order! It’s hard to even imagine a surrealist ball comprised of 500+ people, 98 percent of them in costume. Hey, New Orleans knows how to party, and they party hard in dreamy creations. The music by "Russian mafia band" Debauche, replete with an undulating belly dancer, trilled sounds sweet enough to warrant double-platinum prominence. They played on a stage set up outside near a bubble-gum colored "Candy Land" created by local art collective, Elevator Projects, which is powered by the motto, “Art is always possible, often unexpected, and fully transformative." Virtuoso DJ Cameron Kelly added to the atmosphere with exquisite musical mayhem. Baton Rouge Gallery provided a giant size Twister game and a crazy bouncy house, complete with Freudian jousting tools. In another surrealist party must, Exquisite Corpse, participants drew or added words to create a collective drawing while the paper was folded after each addition, resulting in a crazy composite cadaver.

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This fantastically irreverent event, in its fifth year, was part of a collaboration between Baton Rouge Gallery and the Louisiana State University School of Art, conceived with the mission of engaging audiences in a multi-sensory art experience. LSU is the only university art department in the country that I know of ofering anything like Professor Joseph Givens’ course in Underground Art, a class which explores modern and contemporary art that has emerged from outside the traditional historical canon. The course lectures will examine the historical contexts, counter-cultural influences, and artistic inspirations of symbolism, surrealism, fantastic realism, visionary art, psychedelic art, underground comix, outsider art, imagism, “lowbrow” art, pop surrealism, and street art. LSU’s own Dr. Darius Spieth and Professor Joe Givens, along with organizing director Kitty Pheney, invited me to give a lecture, while the Baton Rouge Gallery appointed me as jurist for their annual group exhibition, Surreal Salon Six, to select one grand prize artistic work from the 180 national entries from 22 states. Marcus Howell of Springfield, Missouri, who cites a “pretty negative outlook and sarcastic sense of humor” was awarded the grand prize for Those with Grotesque Reach and Horrific Intent, which is a musing on “the great economic collapse of the last few years… meant to deride the callous and cruel architects of society whose chief contributions are rampant greed, war profiteering and crony capitalism.”

Beyond The Story: Greg Escalante is as a co-founder of Juxtapoz Art & Culture Magazine. For over 25 years, he has been a definitive voice of the pop-surrealist and lowbrow movements, as well as a collector, gallerist, and curator.

above Marcus Howell Those With Grotesque Reach and Horrific Intent Intaglio 20" x 40" 2012 left A.L. Schwartz Relics Acrylic, colored pencil and gouache on panel 24" x 48" 2013 right Teodor Dumitrescu Usurping Nature Watercolor on paper 10.25" x 7" 2013

Skilled in the execution of dark imagery, his labyrinthine story and uniquely developed language of what he calls “mayhem and jackassery,” was so impressive that it rose to the surface, taking the prize over scores of competitive contenders and finalists. Darius asked me to speak to several of his art classes at LSU, culminating in my final PowerPoint presentation that hopefully spurred the students’ quest for knowledge. But

who knows? You be the judge. Check out LSU College of Art & Design’s media site. —Greg Escalante

For more information about Baton Rouge Gallery and Surreal Salon, visit batonrougegallery.org juxtapoz.com / baton - rouge - gallery

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sieben on life

RemembeR How To Look Michael Sieben @ The ViSual arTS cenTer aT The uniVerSiTy of TexaS aT auSTin

IT WILL ALL HAPPEN AGAIN, A SOLO EXHIBITION AT the Visual Arts Center at The University of Texas at Austin, beguiles the viewer into the kaleidoscopic world of The Dwellers, transient and ageless characters forged from the imagination of Michael Sieben. Widely known for his commercial work as a writer-illustrator for publications such as Juxtapoz and Thrasher, Sieben makes the foray into a gallery setting with this large scale, site-specific exhibition. Entwining the poignant nostalgia of childhood and the apprehension of transitioning to adulthood, this Peter Pan complex drives the “boys’ clubhouse” aesthetic in both his commercial and fine art practices. Influenced by contemporary artists such as Barry McGee and Harmony Korine, Sieben’s work straddles the gap between adolescence and all-grown-up, embracing childhood antics and dabbling in defiant juvenile acts. His visual approach pairs skateboarding graphic design from the 1980s with childrens’ book illustrations from the 1970s, celebrated in the invention of unique fictional characters. The conceptual cornerstone of It Will All Happen Again is Sieben’s childhood fantasy of living underneath a skateboard ramp in his backyard, a notion of such wondrous possibility that it becomes a metaphor for the dimming of imagination that occurs as we “mature.” The exhibition includes hand-painted illustrations and an animated tale of The Dwellers, Sieben’s symbolic version of

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the collective childhood spirit. It is not the physical demise of The Dwellers that haunts Sieben, but rather the threat of what happens to them when we become adults and lose sight of the imaginative innocence of youth. As described in both the exhibition’s accompanying zine and the story touchingly read by performer Bonnie ‘Prince’ Billy (aka Will Oldham) in the animation: We grow. We forget. Until eventually we can no longer find them. Or maybe we just don't remember how to look. This call to discover the creative energy and spirit so inherent in childhood pulsates through each of Sieben’s works. The illustrations included in It Will All Happen Again mark an intentional departure from Sieben’s mostrecognizable character design imagery, large straining eyes, gangly limbs, and crooked smiles. Instead, The Dwellers are pared down to bright eyes glimmering from out of dark spaces, simpler forms that engage the viewer to use their own imagination to determine what these characters might look like in the light of day. Even more captivating are a well-used skateboard ramp, a video-viewing area with the feel of a drive-in theater, an inviting campfire, and a fully stocked Dwellers’ clubhouse that uses the iconography of skateboard culture that has fascinated Sieben since the 1980s. In a nod to commercial work, the clubhouse interior is furnished with his designs created for skateboard clients, including a handmade quilt consisting of thirty diferent t-shirt graphics produced

Text by Jade Walker Photography by Sandy Carson

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throughout his career. The reclaimed and salvaged materials of these large-scale sculptures, the rotting skate ramp, allude to Sieben’s memories and his musing on the passage of time. The loss of childhood and wistful innocence ask us to pause and look for The Dwellers in the next vacant lot—if you can find one.

Mountain collective and has invited a team of collaborators to help with this project, including musician, animator, and visual artist Michael David Aho and craftsman Adam Young. Jade Walker is the curator of It Will All Happen Again and Director of the Visual Arts Center in the Department of Art and Art History at The University of Texas at Austin. juxtapoz.com / michael - sieben

The exhibition will be on display through May 10, 2014 Sieben’s fine arts practice is highly collaborative in nature. He is a founding member of the Austin-based Okay

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NO, YOU’RE WEIRD!

G AT E WAY
B R A N D E N B U R G
L I G H T

VANCOUVER

SEATTLE

BOSTON

TORONTO

NEW YORK

SAN FRANCISCO

CHICAGO

LOS ANGELES

MONTRÉAL

F L U E VO G C O M

PORTLAND

QUÉBEC

CALGARY

WASHINGTON DC

MINNEAPOLIS

DENVER

Andy RementeR IntervIew by Kristin Farr PortraIt by Claudia Zalla

ANDY REMENTER IS OUR INTERNATIONAL MAN OF MYSTERY. What stood out most in conversation was the revelation that, upon seeing his work, people often assume he’s from across the Pond, though he’s American, proving that regional styles are fading into obsolescence. While the Internet blurs the lines of geographically-based influences among artists and has broadened the pool of inspiration, Andy Rementer also soaks up the vibes of many cities and works alongside an international community of artists, representing what it means to have a globally relevant style. He creates super vibrant imagery that speaks a universal language. Rementer doesn’t readily reveal his secrets, but it always takes some digging when you’re talking to an ace. His oeuvre includes exhibits around the world, high-profile illustration work, painting, animation, comics, and a new, collectible sculpture edition, the People Blocks. Like all of his characters, this cast is well-dressed and conveys a subtle, genuine sense of emotion and attitude. Kristin Farr: Tell me about the process of making your People Blocks. Were they inspired by games or toys from childhood? And why do they have French names? Andy Rementer: I made the People Blocks together with the Belgian company Case Studyo. They make beautiful threedimensional objects, especially in porcelain and bronze, but we decided to do something in wood. We wanted to go beyond a stand-alone object, so we came up with this stackable/interchangeable concept. I was inspired by classic and vintage stacking toys, as well as toys from the avantgarde. The names are inspired by French new wave film characters that I admire very much. Can you describe one of them? Antoine Doinel, a recurring fictional character in Trufaut's movies, has long been a favorite of mine. He's very driven, but torn and listless too. Throughout the films, we see his struggles with love and life issues. He's a very interesting character who also serves as an alter ego for the director. I saw the animated teaser for your new comic Going West. What’s it about? Going West is the third comic in a series created for Apartamento magazine. It's a collaboration with Margherita Urbani, and features the main character, Mathieu, a designobsessed mouse with a lot of problems with love. In Going West, he travels to Los Angeles with the intention of meeting someone special who hasn't returned his love. On a recent trip to LA, we scouted for iconic locations to use as the backdrop for the story. The comic is the longest and most in-depth narrative work I've ever done. To celebrate its release, we worked with an animator and sound designer to give the story another

dimension. I love what happens when motion is applied to my characters and visual world. It's something I am looking forward to pursuing further. Keep an eye on Apartamento to see how the story continues. Tell me about your collaborations with Margherita. How does your partnership work and how did you meet? We are partners in both work and life. She is creative as well, and we met through work in Italy. Very early on, we collaborated on personal projects. And through the years, she has been a constant source of ideas and creative direction for my work. Our current and most direct collaboration is the ongoing comic story in Apartamento. We develop and write the stories together, and while I draw it, she plays a key role in setting the mood and color palette. We are really tuned into each other creatively, so it's an almost efortless collaboration. Tell me more about your time in Italy. For two years I was at Fabrica in Treviso, Italy. It's a creative collective under Benetton with talented people from all over the world. The approach was to communicate with evocative (and provocative) images in a powerful and direct way. During that time, I began to develop my visual language and started to discover my voice in my art. One of the biggest perks was living within arm’s reach of the best art in the world, and living so close to Venice allowed me spend a lot of time there. There's something sad, romantic and gritty about that city that is very inspiring. What's the inspiration behind your Medieval Minute comic videos on Instagram? I'm inspired by the artwork, manuscripts and music of that time. I often draw Medieval characters in my sketchbook and thought it would be fun to expand on their ordinary life. There are timeless problems and feelings that must have existed then too: Medieval Minute is my attempt to remind us of that. Is it true that your characters are often insecure? There is a sense of insecurity in many of my characters, and

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I guess it has become a constant thread in my work. I take a lot of inspiration from living in the city and the urban environment, and perhaps I see insecurity as a result of people being forced into living their lives too close to one another.

How long have you been painting, and what was it like moving from drawing to painting? I'm very happy with the latest series of paintings from my show, I Wish I Knew. There was a narrative quality that tied the pieces together and added another dimension.

The idea of a character that is a little unsure and introverted is intriguing to me. It brings a sense of mystery and, overall, I am more drawn to anti-heroes.

With painting, my characters have started to take on new volumes, and I also enjoy working in a larger scale. Storytelling tends to be easier with drawings and comics, but it's more of a challenge to reduce that into a single painted image. At the same time, it's very exciting.

Are the scenarios in your paintings based on real life? I can't help but place scenarios, moments or objects from real life into my paintings. It also helps balance my invented characters in a way. I love taking reference pictures of architectural details and just ordinary city stuf, and working it into an image. More challenging is to translate intangible feelings into my art, but it's something that pushes me forward.

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What do you like about drawing animal heads on human bodies? I like the efect it can have, especially with comics. I'm sure Scott McCloud can explain it better, but it creates a detachment for the reader. You focus less on looking at a human, and so it frees you up to put this character into diferent situations. It also allows you to better identify with the character. And it's just more funny.

left Panels from SheÕs Taking Everything Comic story for Apartamento magazine By Andy Rementer & Margherita Urbani 2012 right Bike girl Acrylic on canvas 36" x 48" 2012

perhaps I see InsecurIty as a result of people beIng forced Into lIvIng theIr lIves too close to one another How do you hope people will feel when they see your work? I hope the viewer is left with mixed feelings. In my work, there is usually an element of playfulness on the surface, yet there is also a thread of sadness and melancholy. Why do you think you're drawn to moody stories? I like melancholy because it has something to do with time and being alone. As an artist, I spend a lot of time on my own with my thoughts, so it's easy to relate to. Personally, I'm not a very melancholic person, but it's a universal emotion that I like to explore in my art. In the comic world, I love how Chris Ware has mastered the application of this feeling. Describe an image you've made that looks happy but has a sad subtext. My comic stories for Apartamento naturally have this efect in both story and style. Also, in my recent painting series, there is an implied emotion juxtaposed with bright colors and vibrant patterns. How does being color blind afect your work? I have a red/green deficiency that is very common in men. It translates into me having difculties distinguishing between muted colors. I suppose this is why I'm drawn towards a brighter color palette and a focus on contrast. What are some symbols or objects that you can’t escape, or that you love using in your work? Besides people, I like to draw overlooked, everyday objects such as doors, cofee cups, books, shoes and hats. I also like drawing trash on the street, but in an organized way. Recently, I started to incorporate alphabets and signs from other languages in my paintings to create layers in the familiar urban environment. Have you worked as a sign painter, or do you just enjoy making hand-painted signs? I studied brush lettering and typography but never worked as a sign painter. I grew up in an historic seaside town where there are hand-painted signs just about everywhere, and I am now enamored with them. There is something timeless about faded, handmade lettering, and I feel that feeds into my work.

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Where was this historic seaside town, and what were some other early influences that stuck with you? I'm from the town of Cape May, New Jersey. Growing up, I mainly mimicked my older brother who was gifted at drawing. He was really into comic books while I never really was; so instead of reading them, I'd just copy his drawings of super heroes, which probably resulted in some rather strange depictions of Spiderman. Calvin and Hobbes comics and Bruce Blitz videos were also influential to my creative beginnings.

left Banana Man Ink on paper 18" x 24" 2012 right Get Real Ink on paper 14" x 17" 2012

Do you think your work is particularly regional? Are there other artists locally or elsewhere that you think your work has a relationship with? Based on my work, a lot of people think I live in the UK or somewhere in Europe. This may be a result of me being inspired by European artists and designers. Also, having spent two years living in Italy and being surrounded by creatives from all over the world, I believe I developed an international sensibility, rather than conforming to a look of a certain location. From Tadanori Yokoo to Giotto, there are so many artists I wish my work could have a dialogue with. Does the work of R. Crumb and Jean-Luc Godard resonate with you? Robert Crumb has been a huge inspiration to me. It was a real breakthrough when I discovered that you could express yourself through drawing, something he does better than anybody. I love his critical tone and sense of—sometimes explicit—observation. Godard is great but I'm a bigger Trufaut fan. His films strike a perfect balance of being approachable and yet terribly sad. Do you think about nostalgia and memory in your work? Yes, especially in my comic series for Apartamento, there is a real sense of longing and nostalgia there. In my paintings, I try to layer captured moments, feelings, and architecture that, for me, gives a sense of place and history. What kinds of things do you get of your chest through art? The great thing about making art and drawing is that you can use it as a vehicle for venting or coping with something. My sketchbook is the place to quickly get everything out on paper. Comics and narrative work are where I try to develop that material. What issues or topics do you find yourself venting about? I used to make a weekly comic called Techno Tuesday where I purely vented my frustrations about technology and society. It served as a direct form of getting things of my chest. At the time, I was horrified by the way people seemed to blindly accept any gadget that was thrown at them. In general, writing and storytelling have helped me cope with personal experiences. What do you need to feel comfortable in life? Art supplies, cofee and a city. Which city? I definitely have my favorites, London and Venice being very high on the list. I also love the timelessness of New York— there's something about it that makes it the quintessential city. I really want to visit Hong Kong, Seoul and Tokyo soon. I know they will blow my mind. Do you pay a lot of attention to how people style themselves?

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I love people watching. This is even more fascinating when traveling and you start to see people's diferent individual styles. If I can't take a quick pic or draw someone with a great outfit, I'll make a mental note and draw it later. In what cities have you seen the most admirable fashions? I admire the sense of personal style that people seem to efortlessly exude in cities like London and Milan. Of course fashion capitals like New York and Paris are also interesting for this. Is drawing female characters any more challenging than drawing male characters? Whether I'm channeling Robert Crumb or not, I like to draw a robust female form. Even in life drawing classes in University, I enjoyed Junoesque women models the most. You see this obsession in many artists from Picasso, Gauguin, Renoir… just look at the Venus of Willendorf. What projects are you working on now? I'm currently working on new paintings for shows in NYC and Seoul this year. Expect the People Blocks project to grow in the near future, so keep an eye on that. In addition, I am working on scripts for shorts and other animations, in between the ongoing Apartamento comic series. What is your ultimate dream creation? Feature-length film.

For more information about Andy Rementer, visit andyrementer.com juxtapoz.com / andy - rementer

previous spread left The Kiss Acrylic on canvas 36" x 48" 2012 previous spread right Pizza Girl Ink on paper 18" x 24" 2012 above Couple Gouache on board 30" x 40" 2012 right Friends Poster 4 color ofset print 16" x 21"

Michael Johansson IntervIew and portraIt by Henrik Haven

IN SPITE OF, OR MAYBE DUE TO, THE CHAOS IN YOUR LIFE, AT SOME POINT YOU have considered a way to compartmentalize yourself. You stack your books a certain way, color code your closet, or start to frame and hang your loose photos. Whatever it is, successfully or not, we have all tried to be organized. Swedish artist Michael Johansson has made a career of systematic organization, and on the surface, turned the contemporary art world into a game of Tetris. But look deeper, and note that Johansson is preparing our world for us in a box, showing how the world has made a concerted efort to coordinate all our goods, services, and material products to fit comfortably together to avoid any unnecessary fuss or ofense. We live in a world addicted to ease, and Johansson is on to this scheme. Henrik Haven investigates Johansson’s busy exhibition schedule, public art projects, and how an everyday object can be a piece of art. —Evan Pricco Henrik Haven: Please introduce yourself and tell us how you embarked into the world of contemporary art as a conceptual artist. Michael Johansson: I'm a Swedish artist, based in Malmö and Berlin. During the past several years, I have been dealing mainly with ordinary objects in my practice, finding ways for new contexts to emerge by assembling the objects in various combinations. In the beginning of my studies, I tried to force myself into painting. Back then, it seemed the logical way to proceed in becoming an artist. But my impatience with cleaning the brushes properly made all my canvases turn out grey. At the time, I regarded it as a failure, but it pushed me into trying out every other medium that came my way. It was actually through my explorations with photography that I rediscovered everyday objects as a stepping-stone in making sculptural work. How would you describe your work to someone who has never seen it before? The easiest way is to describe it as “real-life Tetris.” I combine all kinds of common objects into threedimensional puzzles, which fit perfectly into a limited space. In doing this, the original function of the objects is altered and twisted into something new and unexpected. Your home country, Sweden, is known for being on the quiet, well-structured and conservative side, whereas Berlin is considered more dynamic, artistic and multicultural. How do you and your artwork straddle the two of them? I understand that you are currently planning to move to Berlin permanently, so can you reveal a bit about the reasons for that? To begin with, Malmö is a very dynamic and multicultural

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city, not too diferent from Berlin, just smaller. Here, I would say that size actually plays a part. For an artist, Malmö can be a very comfortable city to live and work out of. For me, this has lately had an almost pacifying efect, and I definitely feel ready for new challenges. Berlin is a creatively healthy city to be based in. Even though it has changed quite a lot in the last several years, it is still one of the few large cities in which one can engage fully in artistic activities, without the surrounding city demanding too much from you. And so, the move is just what my creative process needs at the moment. It is true that many people seem to find a connection between my work and the Swedish community structure, but let's not forget about the German bureaucracy. Hopefully, I will fit right in here, in Berlin, as well. Do you remember your first attraction to art or who initially introduced you to this “world?” I have always felt an attraction to art, even from a very early age. Of course, I didn’t know back then that I would follow the call of fine arts, even though that's probably what I would've told you if you had asked me at the time. Starting out, I had a very classical view on art, and I sometimes wonder what the person I was at the very start of my studies would have thought when encountering the work I make today. I am convinced that my response would have been lukewarm. I can imagine that you, as a young child, were already into Legos, Tetris, anything with stacking and blocks. Am I right? I was never that interested in video games as a child, nor in playing Tetris. That connection came later in life. Legos, however, were something I used to devote a lot of time to growing up, and not necessarily following the instructions that came with the box. How do you think your whole “pattern gaze” on everyday objects began? Everyday scenarios inspire me tremendously. I have always enjoyed spotting all kinds of irregularities or patterns in my surroundings, so many things that one passes by, normally not paying attention to, but that for some reason or other,

Dawn Detail Mixed media 80 x 80 x 80cm 2013

suddenly stands out. It can be a parking lot filled with cars in the same color, or the pants you are wearing that are the exact same shade as the chair you just sat down in. Well, basically anything you encounter in your daily life but never really paid attention to before. Something ordinary disguised in an extraordinary way. You seem fascinated by mathematics, shapes, colors and everyday objects with a retro feel to them. What is it about these fields that interest and inspire, and how do you transform it into your own works of art? The main reason as to why I mostly work with everyday objects, sometimes with a retro-feel, is that I am interested in the history they hold. This concentration of objects of diferent origins into one imaginary image of a fabricated reality is much more intriguing for me than the use of newly produced objects purchased at the local supermarket. There is something about knowing that only a limited number of these particular objects is left that increases the unlikeliness of them being morphed together with such a precise fit.

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Using the colors and the shapes of the objects as a platform for them to interact is my way of loosening their original purpose and making them into art. Lately, I have also realized that by forcing myself to adapt to the already fixed appearances and limitations of the objects, it is easier for me to relate to them. It also helps me not have a stream of endless possibilities in making a work. What others might find obstructive has become a necessity in my practice. The limitations force me to react, ushering my creative decisionmaking, and an endless stream of possibilities wouldn’t provide the same. And since all the items I use already come with a defined color and shape, as well carrying their own narratives, I almost feel that the work creates itself once I begin making it. When all the riddles are solved and everything fits perfectly together, it is almost as if the work was predestined to be put together in one particular way.

above Some Assembly Required Hard Hat Diving Bronze cast of diving suit, welded bronze frame, spray paint 3.6 x 3m, 2 x 0.3m 2011 right Recollecting Koganecho Furniture, household items. 4.5 x 1.8m 2012

I have been fortunate enough to follow you for a while now, visiting the studio to experience and document your work process and art in the making. Describe your typical creative method and how you go about making a piece of work. It varies a lot depending on the character of the works, as some of them are made in my studio and others are sitespecific pieces created on the spot in museums or public spaces. Nevertheless, the main challenge usually lies in finding the right objects to fit within a specific system of limitations. Once I have decided on the spatial limitation for a project, it usually begins with a period of collecting.

What makes an object stand out to you? There are always certain qualities I keep in mind while searching for objects for an upcoming work. It is a combination of color, shape, aesthetics and content which makes them just right. The perfect object for me is something that carries as many of these characteristics as possible. Unfortunately, the formula changes from project to project, so an object that is perfect for one work can lack one or two vital ingredients for the next. After each finished project, a few promising objects always end up in storage, waiting for their moment to shine.

Most of the objects are found in diferent flea markets and secondhand stores. I mostly do my collecting around the area where I live, but if I make a work in Japan, for example, I usually spend some time in the beginning of the process collecting things on site. I have also made several sitespecific works at museums or galleries, solely constructed by objects found in the storage spaces of that institution. In doing so, the daily function of all objects was somehow neutralized.

You mention on your website that the power of the double is too strong to resist. Could you try to walk me through one of those experiences? I have always been a collector; somehow flea markets never cease to fascinate me. I especially love to find doubles of seemingly unique objects that I have already purchased at another flea market. Even if I do not even have a use for the objects in the first place, the unlikeliness of discovering them twice on two diferent occasions only increases my desire to possess them. The same rule applies to my art practice. There has to be a combination of the highly recognizable with the very unique in order to create a fruitful encounter between the work and the viewer.

Do you have a favorite element or phase in the work process that you enjoy the most while creating a work of art? There is a critical moment in each process when there are too many loose ends at the same time, as if everything is about to collapse. At this point, there is no beginning and no end to the puzzle. And just by changing or removing one object, the consequences can be enormous. Even if it might last only for a little while, my favorite phase is always when this stage has passed.

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Your works have an obvious mathematical precision, but they still radiate this abundance of personality and history in the singular objects constituting the whole. What are your thoughts on the play between strict calculation and the unique and personal impression of the particular objects? It intrigues me not knowing the origin of the objects I source. Most of the time, I know what they are, and what they have

above Studio shots captured by Henrik Haven right Shade Ordinary items 3.8 x 5.6m 2013 following spread top left Toys’R’Us - Dingy Scale 1:1 Dinghy, boat equipment, welded metal frame, spray paint 2 x 2.6m 2006 following spread bottom left The Move Overseas Containers, household items 6 x 7.8 x 2.4m 2006 following spread right Self Contained Containers, caravan, tractor, Volvo, pallets, refrigerators, etc. 8.2 x 10.8 x 2.4m 2010

been used for, but not by whom, when and where. That is an important reason for why I choose to work with used objects instead of new ones—they have lived a life before I find them. Since each work contains hundreds of diferent objects, all found in diferent places, many lives morph together into a manufactured identity that never existed. The compact, more mathematical way to combine these objects is a way to make this new context feel self-evident. The perfect fit between them enhances the illusion of their coherency.

the project I'm currently working on, and avoid fantasizing how to make my entire surrounding into a major piece of art, no matter how appealing that idea may be.

When I look at your works for longer durations, it kind of feels like the world has changed when I “re-enter.” Colors start arranging themselves in patterns, objects seem to fit into each other, and even people almost fit, if I could just move them slightly to one side, you know? And I wonder, “How must Michael feel?” Sometimes, when I'm right in the middle of a very busy period of work, the few hours I sleep are usually filled with dreams connected to packing objects in every possible way. But while I'm awake, I usually manage to keep my focus on

What do your wardrobe and drawers look like at home? From time to time, they do follow a certain order, but I don't think my apartment lives up to the general idea of how I'm supposed to live from the perspective of my works. It is more of an ongoing interplay between order and chaos; between good and evil. My apartment tends to become less crowded for each work I finish, though. It happens quite often that I have something in my bookshelf that magically finds its way into one of my pieces instead.

In this light, what is packing a suitcase like for you? I tend to pack my suitcase as light as possible. Perhaps since I am normally surrounded by a large collection of objects in my daily practice, I prefer not to carry much with me when on the road.

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Your installations appear as kind of a systematization of the unique, though mass produced, objects of everyday life and consumption. How would you describe the sociopolitical intentions, if any, embedded in your works? I certainly hope that my works can add to a contemporary dialogue, otherwise I would never spend all this time making them. Even though the visual aspect is important to me, I rather regard aesthetics as the starting point for a dialogue with the viewer. It is the use of ordinary objects, all the diferent things that most people recognize from daily life, where a deeper point for wider discussion lies, covering themes such as history, memories and tangibility, to name a few. The humorous undertone in my work is also a way to catch the attention of the audience, compelling them to spend a longer time exploring my work, while hopefully finding other levels of interest as well. For me, it has been highly fascinating to experience the reception of my work throughout the world, as it difers a lot. In Tokyo, the unstable reality of living with earthquakes, for example, adds a completely diferent layer to how the work is read. What do you wish that the viewer should feel, think or experience while looking at your work? The interpretation of the work will, and must always, vary from person to person. Everyone will bring something diferent to the dialogue with the work. But the most important thing I actively hope that people will bring away from a meeting with my work is the rediscovery of things you neglect after seeing them too often. Things so ordinary that you just don't notice them anymore. I want my work to break away from such daily patterns as a reminder that it is possible to reinvent yourself without necessarily visiting new places. I know that I constantly need to be reminded about this myself, appreciating art by other artists, which tricks me into looking at things with a new set of eyes. I hope my art can ofer this to others as well. Most people, especially artists, have an extreme dream, a project so massive they only dare to fantasize about it. What would your “Ikaros Project” be? Well, I do have a dream project I hope to be able to realize someday, but the problem with dreams are that if you say them out loud, there is a chance that they will never be fulfilled. Especially the big ones. So I think I’d better keep it for myself a while longer, just in case.

Michael Johansson currently has new public works in both Norway and Sweden, as well as work in group shows throughout Europe. His solo show at the Gothenburg Museum of Art in Sweden opens in April 2014. For more information about Michael Johansson, visit michaeljohansson.com juxtapoz.com / michael - johansson

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Tim BarBer

IntervIew by Austin McMAnus PortraIt by KAyA WilKins

REMEMBER WHEN WE WERE ALL ADJUSTING TO COMMUNICATING REGULARLY BY email, and having a website to present your artwork was uncommon? The Internet was still trying to figure itself out but was swiftly becoming the most resourceful and convenient tool of our time. Around this period, I stumbled onto a website cleverly dubbed Tiny Vices. It was like an authority on artistic talent and I was hooked instantly. Its dense content showcased, in a direct and simple way, work from artists who were on their way to becoming the next “talked about” person in their genre. The site was predominantly photography-based but not solely limited to it. After a little research, one could find that Tim Barber was the creator behind the URL curtain. Digging deeper came the discovery that Barber himself was also becoming that next “talked about” person in photography.

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Possessing an admirable work ethic, a knack for being a tastemaker, and a subtle but striking acute photography aesthetic of his own, Barber has established himself as a principal figure in the photography community at large. He has found success in both the galleries and commercial ventures, often a very slippery balancing act. Many careers of young up-and-coming photographers have benefited from the help of Barber, who also served as the photo editor of Vice magazine for many years. Through his extensive

left Untitled (Scum) 2013 right Untitled (Aurel & Donald 2) 2011

curation of a number of exhibitions, the talent sharks now closely watch his creative tastes. Whether shooting campaigns for respectable and trendsetting apparel brands, or simply publishing a minimally designed book, his stamp is easily recognizable. I was genuinely surprised to discover that Barber had never been the subject of a feature interview in the pages of this magazine, so I decided that should no longer be the case. After a year of schedule interferences, miscommunications, and missed deadlines, it finally happened. Austin McManus: Where do Tim Barber’s shoes take him on a typical day? Tim Barber: Something I like about my job is that I never really have a normal day; it's always diferent. If I'm not shooting or traveling to a shoot, I'm working in my studio, looking at or editing photos, working on my websites, puttering around, making plans.

What was it like growing up in Massachusetts? I grew up in Amherst, a big college town with five schools in the area, so there were a lot of young people around during the school year. Because of that, a lot of bands would come through, so I got to see a lot of good shows when I was young. I got to see Radiohead and Sonic Youth play in this tiny student center in ‘93. In the summer, the population would drop by half, and it would get really sleepy and quiet. Lots of swimming holes and stoned hikes, stuf like that. I grew up skateboarding and snowboarding, so that was a big part of my life then. After I graduated I moved up to Stowe, Vermont and was a snowboard bum for a few years, working as a janitor in the lodge for the free season pass. Do you still snowboard, or have you given it up? I still try and go at least once a season.

Having spent a significant amount of time living in New York, have you noticed a change since you first moved there? How’s the current creative scene? Yeah, I've been here for ten years now, which I believe in New York terms makes me ofcial. But that's a hard question to really answer. Everything changes and nothing changes. I've changed, my expectations and interests have changed, but New York is just New York. There are peaks and valleys, exciting times and dead times, but it's just New York. It’s a beast. It gets exhausting sometimes, but I am always so happy to come back whenever I've been away. There's a buzzy energy here I've never felt anywhere else. What became of your publishing company, TV Books? I noticed the website ceased to exist. Yeah, I ended that project. It was too much for me to maintain, and very hard to make sense of financially, but it was fun while it lasted!

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Your website tinyvices.com has morphed into a new site called Time & Space. There is now a community blog and art calendar, along with the formally presented portfolios for contributing artists. My favorite part is that there is nothing for sale. Can you tell me more about Time & Space and your intent? I had put the Tiny Vices project on hold a few years ago, but I started to really miss the energy and community that surrounded it. So I redesigned the site so the artists could update their own content, and contribute to a community feed and arts calendar. I wanted the site to be able to grow and expand more organically, and not have to have everything filter through me. I still curate the group, but now the group is responsible for representing themselves on the site. It’s like a curated social network of artists. So having a strong community of creatives is important to your process? Yeah, for sure, that is why I built Tiny Vices and Time & Space. It’s super important to me to have a community

left Untitled (Rain/shower) 2013 right Untitled (Storm) 2013

that keeps me excited and motivated about looking at and making things. What draws you to a certain photograph or photographer? I’m always drawn to work that feels unique in some way. There is so much redundancy in photography, so many clichés and boring sameness. So it’s exciting to see something unique and fresh. Consistency is important too. Do you often receive submissions from up-and-coming photographers looking for exposure or advice? Yes, I do. In the heyday of Tiny Vices, when I still had an open call for submissions on the site, I was getting dozens of requests every day. It was super overwhelming at times, but it was what really fueled that project. Now it’s slowed down, I think, because there are so many outlets online for young artists now; but I still check them all out and try and respond to people when I can.

Due to the accessibility of cameras, there are currently more photographers than at any other time in history, and the Internet acts as an invaluable exposure tool like never before. Do you think it is harder to get recognized now because of this? The Internet is an incredible tool at everyone’s disposal, and competition is good for progression. I think the fact that so many more people are looking at and thinking about photography is a positive thing. It’s all about communication, in the end, so the more vocabulary people have, the better. Everyone can sing too, but that doesn’t detract from the profession of singing. If anything, it makes people more appreciative when they hear a beautiful voice. I know many photographers who create really strong work but can be inefcient in making cohesive or sensible edits. How important is the editing process for you? Photography is, from start to finish, an editing process, so making final edits is as important as taking the photos in the first place.

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the more vocabulary people have, the better. everyone can sing too, but that doesn’t detract from the profession of singing. if anything, it makes people more appreciative when they hear a beautiful voice You have found an admirable balance between staying relevant in both your commercial and personal photography. Many photographers fail to do both successfully. What’s your, um, secret? Ha, there’s no secret to it. I just work hard on everything I do, and try to make sure to keep a good balance between everything. Have you ever been intimidated by anyone you photographed? Not really, not intimidated, but I have shot people who were

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totally uninterested in being photographed, who were very rude and unpleasant to work with. Is there any particular setting where you feel most comfortable when shooting? I like being outside, where there aren’t a lot of people, and where there’s some aspect of the landscape to interact with. If there’s an element of danger, that’s good too. One of your photographs (a personal favorite) recently graced the cover of Elton John’s new album. How did that

above Untitled (Quiet Please) 2011 left Untitled (Eagle) 2012 right Untitled (Enzo) 2013 following spread Untitled (Ali’s vein) 2013

transpire? Are you a fan of his work? I read it was his 31st studio album, which is pretty impressive. Elton is huge collector of contemporary photography and became acquainted with my friend Ryan McGinley through collecting his work. When he decided on calling his new album The Diving Board, he asked Ryan if he had any images that might work for the cover. Ryan suggested my photo, and it ended up working out. It was an amazing honor. Can you tell me about your newer collaboration series with Kaya Wilkins entitled You Can’t Get There From Here? It has a very intimate feel. My friend, Andre Saraiva, the art director at L’Ofcial Hommes, asked me to shoot a self-portrait fashion story. I think it was primarily based of images he had seen on my Instagram. I thought it would more interesting and fun (and true to life) if I included my girlfriend, Kaya, in the project. So they sent us a big box of clothing to use, and we ran around shooting photos of each other. The magazine was really happy with the first story we did, so they invited us to keep

going with it, like an on-going diaristic-selfie-fashion story. We just finished the third installment and plan to do a few more and then make a book out of the whole thing. You recently had a signing in Los Angeles for your new book Relations published by Yuka Tsuruno Gallery. How did that go? You edited and designed the book yourself, correct? The signing went great; it was like a little bookstore party. Family is a sweet place. LA is lucky to have such a great venue. And yeah, I edited and designed the book myself. It served as the catalog for the show I did at Yuka Tsuruno Gallery last September. Was there any particular photographer whose work made a strong impact on you when you were beginning? Both my parents studied photography in college so there were a lot of photography books in my house growing up. There was one book that I got really obsessed with called In Our Time: The World as Seen by Magnum Photographers

If I wanted to descrIbe thIngs to people I would be a wrIter that was like a huge compendium of all the best Magnum photos. I looked at that book a million times and it taught me as much about the world as it did about photography. And then there was Robert Frank’s The Americans that was just pure poetry, and had this feeling of efortlessness. It was like there wasn’t even a camera involved—like he made those images with his hands. Even as a young kid, I felt really strong emotions about that book. But more than anything, it was my parents’ photos, from the years before I was born, that really schooled me. They would give these slideshows of their photos and tell the stories that went with them. I think that was what really hooked my interest in photography and made me think about it as something that I could do myself. How would you describe your work to someone who has never seen it? I wouldn't bother, because I can just show them. If I wanted to describe things to people I would be a writer. I mean, of course I could sum up my general style, or approach to image making, but I don't really see the point. I like the fluidity of photographs, and their ability to be translated in a multitude of ways. Describing them in advance works against that wonder, and I'd prefer them to be looked at with fresh eyes whenever possible. Is there anything coming up in the future that you are especially excited about? I’m really excited about Time & Space. I think it has a lot of potential to become a really interesting and exciting online space, and I hope to continue working with that community on ofine projects as well. Do you ever schedule in vacations, or are you full-time, all the time? I take breaks here and there, but I always have a camera on me, and I can only really relax for about a day before I get antsy.

For more information about Tim Barber, visit tim-barber.com juxtapoz.com / tim - barber

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HannaH Stouffer IntervIew by Evan Pricco PortraIt by ian camPbEll

YOU’D THINK IT WOULD BE EASY, BUT IT’S DIFFICULT INTERVIEWING SOMEONE YOU know, which is the case with Hannah Stoufer. It’s been years, even before she moved to Los Angeles, then back to San Francisco, and now is down south again. Because I have seen her work grow from photography, to painting, commercial art and curation, there was so much to cover that I indulged in certain topics while deciding which to illuminate. What remains true through the years is Stoufer's ability to make art in so many mediums, genres, and styles, all colliding in bursts of color and mystical abstraction. What started in the wilds of Colorado now basks in the Southern California sun–part vintage, part visionary but always exploring where art can take you. Evan Pricco: I remember when we first met, I believe I saw your photography first and was later introduced to your painting and illustration. What was your first love? Was it just a childhood of creativity and exploring? Hannah Stoufer: I was initially introduced to photography and film through my father who is a cinematographer. He would encourage me and let me experiment with his equipment—varying still and video cameras, lenses, and films. Photography might have been my first love, though I had an aptitude for painting and illustration as well. The photography I was printing and showing 10-15 years ago focused on vibrancy, minimalism, composition and happenstance. And I still see that attraction in my work today. It just so happened that after five years in five diferent schools, my curiosity in experimentation led to a dual major in Conceptual Information Arts and Photography. It’s very important to be well-rounded creatively and intellectually, with an understanding of as many mediums as possible. I gained a tremendous amount of knowledge in composition, color and shape play, in addition to valuable methods, attempting to learn everything at the same time. Admittedly, I do tend to take after my father in being near obsessive in my curiosity. Where did you grow up? In the rural wilderness of Aspen, Colorado. When I was six, my brother Luke was born, and we moved further into the mountains where my father, his father and a few brothers and friends built a huge, wooden cabin on a couple acres of land, ensuring a place for all the animals of the world to flock to. My friends growing up coined it “Marty's World,” fittingly, as they loved my dad’s near barbaric antics, hunt-to-eat fishing, displays of fireworks, explosives, and go-carts built

for 10. We housed a variety of short term visitors during this time. I guess you could call them pets: three baby bear cubs, two ringtails, a baby fox, a few falcons, with a mini pool in the yard for a baby otter, a goose, and of course my dog Shadow (then later, Shadow number two). It was a house that was inaccessible by public transportation, and it got so dark at night that my mind would wander in near terror out to the expansive blackness, the vast void of space and silence. My folks still live there now and I love it. I try to spend a solid month or two there at least once a year.

Beyond the story: Hannah will open a solo show at Slow Culture Gallery in Los Angeles on April 5, 2014. The Well in Los Angeles will host a Juxtapoz Psychedelic book release on April 26, 2014.

I have to identify your father, Marty Stoufer, who was the man behind the PBS show "Wild America," which amongst other things, focused on wildlife and nature. Was there ever a time where you could have followed in his path? My dad is the absolute best, a huge source of encouragement, inspiration and knowledge. He has taught me everything I know about entrepreneurship, being spiritual and kind, loving the surrounding environment, striving for fulfillment, and noticing what is most important. He has certainly influenced my work. From time to time, he incorporates his still images and connects his path to mine, though I have always been more drawn to a 2D visual medium than a moving image. I need focus, and it’s hard to get that when my brain and my eyes are going in diferent directions. I've found great satisfaction in the small amount of amateur film or video projects that I've embarked on, but it’s not all the way there. Honestly, at this time, I don't think anybody could follow his path—film has evolved to a completely altered medium. When he started making wildlife films, everything was diferent, difcult, draining, cold, heavy, and involving endless hours of waiting, shivering and sweating—possibly to no avail. I've seen and read what he april 2014

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went through to make his films and it’s brought me to a near full-on anxiety attack. His life experiences are insane, he is the best storyteller I've ever met. To this day, he consistently does everything possible to maintain and grow with the ever-changing phases of technology. Never ask him his opinion on all of the new HD, digital, reality versions of what they call “wildlife programming” unless you have a few hours to spare for a real purist. He's an amazing individual and I feel infinitely fortunate. I love you too, Mama. Mountaintops, animal skulls, and bit and pieces of nature drenched in color are a constant... Is this your background literally acting as a backdrop? Yeah, that's all I can really make of it. My work is a subconscious stream of endless attraction and nostalgia. Some is based in my upbringing, but it’s all relevant and currently active in my thought process. It’s all pretty subliminal, echoes from past experience and current states. I've found my work operates as more of an output of my mental activity and the discovery of what we're all going through. It shows very clearly what I'm obsessing over, what I notice and what I love. An open visual dialogue of things I want to express and share, these roots of my upbringing definitely take up a large part. I was fortunate to be surrounded by these natural elements, and I think a part of me still wants them close. My work tends to echo the immediate states of my life, and it’s always interesting to be able to look back at a body of work from one, two, five or ten years ago and see where my head was at, even with this nostalgic influence. You paint in the tradition of "art that enhances psychedelics, and psychedelics that enhance the art," and now you are a curator of the genre, having edited the Juxtapoz Psychedelic book. What is your relationship with psychedelics, both as an experience and a genre? I'm certainly an enthusiast of work that falls into this category, as well as anything sci-fi, fantasy, metaphysical, past or future focused, and anything that exhibits an expansion of consciousness. Having said that, I love psychedelics. I love the energy that surrounded the psychedelic movement of the late ‘60s and the path it has traveled. It’s difcult to say that my work is psychedelic, as I try to focus my energy on researching the fundamental nature of beingness through an exploration in metaphysical research, determinism, natural theology and universal science, but I can't deny it is also guided by life experiences and psych-induced moments. I do heavily empathize with work created by an open expansion of the mind, not in a cliché druggy way, but really, let’s get weird. Having recently curated the Juxtapoz Psychedelic book, I delved pretty deeply into exploring and engaging with many contemporary psych artists. I'd like to reiterate though, that a psychedelic experience is characterized by an expansion of consciousness that generates a new form of understanding, and this state can come about through an array of experiences—a change of perception, meditation, sensory stimulation or deprivation, or by the use of psychedelic substances. To tell you the truth, some of the

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most intensive psychotropic visions I've experienced occur simply by closing my eyes. What about being a curator? Having searched, researched, and just been in contact with other artists for Juxtapoz, does this change the way you work? At some point, being face to face and in contact with other creatives is going to have an impact. I love curating. I've learned from it, noticing methods, materials, attention to this or that, progression or not, shape,

above Metaphysical Alphabet Ink on paper, digital gradient, 16" x 20" 2013 right The Magic of the Woods Ink and watercolor on paper, digitally rendered 16" x 20" 2013

form and varying compositions. Every now and then, I'll be really attracted to something, and it ends up getting incorporated in my work. I don't think it’s changed the way I do work, as I always work pretty subconsciously in the end, but it does make me notice more. I'm more aware of what is out there, better educated and constantly learning, which is what I like, but it’s really important for a creative to remain focused in their work, rather than try to emulate the work of others, obviously. It wouldn't make sense to try to jump into somebody else's story. Why do you think psychedelic art is having a comeback? This resurgence of psychedelia is an attempt to embody a mindset similar to that of the movement’s origins in the ‘60s and ‘70s. I think there are similar trends of social and political strife, a desire for unity and an urge for personal freedom and detachment that mirrors the social and political unrest of the early psych movement. The use of psychedelic drugs during this era epitomized the pursuit of connectivity within a genre as it heightened political awareness. I think a similar mindset is reemerging. We are seeing a resurgence of psychedelia in the visual culture reflecting an era of radical thought and revolutionary action. I know by personal experience that there is nothing more appealing than the option of freedom through escapism and personal development through the expansion of the creative mind. Have women in psychedelia been overlooked by history? It’s difcult to say. I kind of loathe the whole “women artist,” or the “feminine” mark on any creative medium, but it’s true. While I certainly wouldn't say we or they were missed entirely, it’s true that a lot of times, this field seems to be entirely dominated by men. I might say that men are a little more bold when it comes to experimentation, maybe striving harder for success due to traditional ideals, but there have been great classic psych artists like Marijke Koger and Allyson Grey, and more recently Deanne Cheuk, Maya Hayuk, Pearl Hsiung and myself who have been involved and successful in this genre. Something I always want to know, and because we know each other, I want to ask, what constitutes a breakthrough for an artist. When is it that you start feeling you have a style, and what makes you want to start exploring that personality of creativity? One day, it just felt comfortable. I still feel the struggle in new experimentation, which can feel rusty. Even if I have zero idea what I'm doing, I can find my way back to a comfortable state. That breakthrough occurs when you truly feel confident with where you are at. The right thing to do when you really feel it is to keep going—do it until you feel satisfied—then make yourself change. You can't be too influenced by outside opinions, or what anybody else is doing. It’s important to be aware, but also necessary to shut it all out. Sometimes artists don't follow through with a style for long enough, or they get too comfortable and stay there for far too long. It’s a tricky balance of self-progression, production and desire.

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At the same time, it is so subjective as to when it’s right, or when it’s enough—who the fuck knows? I always knew I wanted to create, it’s all I know. I think the trick is feeling it, one of those difcult things to express that I'm sure the Germans have like 17 words for—when you hit a tennis ball perfectly and the bounce is sharp and clean, or you crack an egg and it splits just right. These moments wave over you with instant satisfaction, and it feels amazing. The same thing happens with art. If you listen, you'll feel it. Where are you at your most comfortable and how often do you experiment with new styles? I'm curious, and super attracted to what I do, but also insanely interested in what drives others. I have near obsessive tendencies when it comes to understanding a super obscure subculture that might not be relevant to me, but I always want to understand and see how it feels to be completely out of my comfort zone. Sometimes just a black

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pen and a sketchbook is the most comfortable thing, or sometimes a whole big mess of ink and watercolor feels right. I want to dress like a grown up and wear my nice shoes, or should I just put on this smelly Maiden tee and get weird again? I have my go-to’s in the studio, but there's always room. I'm still getting into using an airbrush; it’s fucking difcult but I love it. The majority of what I reach for is richly pigmented acrylic and watercolor inks–they're just so vibrant and versatile. I can be both super intricate and clean with them, or water them out to make a huge mess. I like that. You are busy, and the inevitable question is how does commercial art fit into your schedule? How has working in that realm helped you? What gets companies really get excited about your work? I wouldn't do it if I didn't absolutely adore it with all my heart,

previous spread Common Ferns and Foliage (Reflection Symmetry) Watercolor on paper 30" x 24" 2014 above Geodesics (Universal) Ink and watercolor on paper, digitally rendered 16" x 20" 2014 right Microcosmos Ink and watercolor on paper 24" x 30" 2012

I thInk the trIck Is feelIng It, one of those dIffIcult thIngs to express that I'm sure the germans have lIke 17 words for even the commercial work. I've always made it a priority that 95% of what I put out to be from a personal, productive, fine art basis. I've been fortunate enough to have clients actually respond to this work, so it takes little convincing to be able to utilize and continue the creative direction. I was attuned to commercial work, thankfully, and visual art, like most things, meanders through various phases and trends that act universally. I always had an understanding that there should be a consistent visual dialogue, and I like to think that thread is there, but progressing at the same time. Being versatile, and often ambiguously abstract (or metaphysical) in my work allows it to merge beautifully with many diferent commercial visions. This was never really intentional, but it all just works out. That’s the nature of the universe. What’s your favorite letter in the alphabet? That’s like a trick question. Simple letters are beautiful but it depends what font we're in. All it takes is one slant or serif to fuck it all up. Sometimes I love a good C, but not if it’s italic in some Dances With Wolves-ass font. H has always been kind of confusing for me to understand, so has M, but they have their moments. T and I are usually universally gorgeous, but again, if you try to jazz it up with some bullshit, I'll change my mind. X is nice, but so difcult to work with. What I'm really attracted to are words. So maybe letter combinations, or descriptions would make more sense. The flow and balance of language is an incredible thing. If you could collaborate with one living artist, who would it be? My father, my brother, and any number of my amazing creative friends, which I do often, though I also like to work alone a lot. Who is your hero? My father, obviously. Though I always felt like I'd really get along with Andy Warhol. I could go on and on with all of the inspirations I have in art, film, music and literature, but I think the point is, that if I could call my hero “passion,” I'd do that. You left us in San Francisco, and moved back down to Los Angeles. It seems like the creatives are all heading to LA again, but I think the water is better in SF. I love Los Angeles, but they’re impossible to compare. They're both better than the other for diferent reasons. I've bounced back and forth many times, and I have apartments, friends, and favorites in both that I couldn't possibly divide. This time, however, it was mainly for work. It’s no secret what's going on in San Francisco. Maybe unfortunate, maybe destined, it’s a beautiful city and the secret is out. It’s expensive and ridden with social media and startups. I just didn't belong. There is still energy, space, excitement,

and room for change and growth in the creative scene in LA. There's still possibility and people want to engage with it. I have a five gallon jug of water that I refill weekly with the most delicious alkaline water I've ever had. You'd love it.

For more information about Hannah Stoufer visit, hannahstoufer.com juxtapoz.com / hannah - stouffer april 2014

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AndreA Sonnenberg IntervIew by Evan Pricco PortraIt by KEn Goto

I HAVE NEVER INTERVIEWED SOMEONE ON THEIR BIRTHDAY, and immediately felt like I needed to hasten Andrea Sonnenberg’s getaway to a party where she could celebrate and not have to answer my questions. We bounced around the idea of doing the interview during the LA Art Book Fair, in the same place where Sonnenberg, aka Teen Witch, had a grouping of photos during the seminal Art in the Streets exhibition. I thought a return to the place where the wider world was introduced to her frank, inside-documentarian style of San Francisco culture, missing in most travel guides, would make for an interesting perspective. But a week later, here we are, on Andrea’s birthday, gaining broader perspective on not only the fair, but her photography in general. The last time we spoke, she was developing photos at Hamburger Eyes in the Mission District in 2011, and three years later, our city and her career continue to evolve. Evan Pricco: First of, Happy Birthday. What are you doing to celebrate? Andrea Sonnenberg: Thank you so much! I really wanted to go skydiving for my birthday again this year. I have tried to make it a tradition since I went on my 18th birthday. Alas, I worked this morning and couldn't make it happen... but there’s always next year. Turning 25 is weird. I feel like every year, when I get older, I think, "There goes my youth! Now I have to be an adult." Certain things in my life change and others stay the same; it's interesting to watch the transformation happen, and acceptance of it has been another part of my growth—not to get depressed about the things I need to let go of, but excited for the things yet to come. One of my all-time favorite questions posed to a photographer was by my colleague Joey Garfield, who asked Bruce Davidson, "Did you choose photography or did photography choose you?" I love that, and I'm curious what you would say to that? That’s an interesting question that I have to think a lot about. How exactly can photography choose someone? It wasn't something that I had a ton of exposure to when I was a kid, or even later on when I was growing up, so I think that I definitely chose photography. It wasn't even something that I sought out, like, “I'm going to be a photographer.” It just started happening. I enjoyed the mechanical aspect, and to develop photos, you have to take them, so that's what I started doing. A lot your work feels spontaneous. The moments you capture have no filter, seemingly no preconceived plans, but they turn out with a gritty beauty. Are you shooting in your head before you even take the camera out? Are you always examining the lighting and the mood, or are you trying to be as spontaneous as possible? Though “trying” could be the wrong word… I am constantly shooting in my mind, everywhere I go. More and more, I go through life looking at things diferently:

Color patterns, shapes, and emotions. I feel like some of the best photos I see happening are almost never captured. It's something I'm working on, personally, trying to improve that trigger-happiness inside me. Sometimes it’s hard to just take the photo. I try to put myself in other people’s shoes when I shoot, because I loathe strangers taking my photo, and I never wanted to be that person, but in certain instances, the moment simply demands it. As far as examining the lighting and mood, of course I never try to change those aspects when shooting. I take them simply as they are. Describe the moment when you shot your first photos, developed them yourself, had that connection with your art, and thought, "Yep, this is it. I'm addicted.” I remember when I was developing photos in a darkroom for the first time and was amazed at the whole process. I think I was 13 or 14, and I loved everything about it. The photos, at the time, were terrible! But I look at them sometimes now, and I laugh and think about how amazing they are, how much more important they are to me now than anything I could shoot today. There is a culture of San Francisco that you capture that a lot of people might miss because they are so obsessed with this city being overrun by tech money and the perceived prevailing sterile culture that comes with it. What is SF to you, as someone who grew up and has spent your whole life here? San Francisco is my one true love. It's hard to look back to photos shot years ago here, places that will never be the same… changed forever! There are such fond times that will only live on through photos and late-night, drunken, memory-lane ramblings. But alas, I'm not surprised. I have come to accept things the way they are changing in this city, and everyone deals with the powerlessness in their own way. Personally, the only thing I regret is not shooting more, had I only known what was to come. What is the current state of our little city's bohemian culture? Do you think we’re losing it? I think the flare that this city holds has been greatly diminished since the arrival of the newest tech frenzy. The people who have grown up here are being pushed out, unable to pay the new rent costs. The average rent is $2800! There is no longer this sense of support for artists and creatives. Neighborhoods that once seemed undesirable, for which we held a great sense of pride in being from, are now techie hotspots, driving out long-term residents who made this city what it was. april 2014

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Let’s talk about some of your influences. Having printed at Hamburger Eyes for years, you have documented some interesting moments in SF street life and have had the chance to be around some real characters, right? Some of my biggest influences are the people I've grown up with, amazing local artists who are humble and talented, Ray Potes from Hamburger Eyes being one of them. He’s a hard worker who is also incredibly talented and puts out tons of work. Sometimes we sit and talk for hours about all the ideas we have and would love to work more on. George Crampton is one of my oldest friends and his artwork is simply amazing, very San Francisco-based, and in my eyes, really represents growing up close to your roots and delving into the history of this extraordinary place, like all the color and sights of the old Mission. Some people who see your photos may think to themselves, "Ah, shit, bad kids doing bad things, but it looks really fun." I'm trying to wrap my head around how to ask this question, but have you had conversations

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with friends or people in your photos where they ask to not have certain things chronicled? Is there a certain relationship you have to earn in order to document lives, or is everyone up for it? I think that because I have been shooting for so long here, people around me have opened up. I like to shoot them from the inside, as each person sees themselves, and having the opportunity to grow up along with this community, I feel it comes somewhat naturally. You have to earn people’s trust to really see that side of them, and I am thankful for the trusting relationships I have formed with those I photograph. Of course, there are always things we do that people don't want seen, and I respect that. I have made the mistake in the past of posting things online that I regret. The Internet is a dark place that never ends, and I wouldn't want to jeopardize my standing trust with people by posting things they don't agree with. I'm generally good about asking for permission of someone, but mostly they are down for the cause.

The InTerneT Is a dark place ThaT never ends, and I wouldn'T wanT To jeopardIze my sTandIng TrusT wITh people by posTIng ThIngs They don'T agree wITh When MOCA's Art In the Streets opened, your wall brought a real new wave, contemporary angle to the show. To me, and maybe because I'm from SF, your photos were like, "Meanwhile in San Francisco... we are keeping things salty." How did you choose what went into Art In the Streets? When I was editing Art In The Streets, I really wanted to show it all. I wanted to show everything there was—the good, the bad and the ugly. I tried not to censor anything and really just show the realness of it all. I didn't want to conform to the standards that seemed to apply. I really just wanted to show exactly what I was doing, and what kids my age were doing, growing up with, perhaps, no concrete role models

or worldly aspirations—what we did to bide the time; what we did to cope. I wanted to use the opportunity not just to showcase my work, but more so to speak for a young generation of natives. Some people criticized my choice of works, but others praised my fearlessness as the youngest artist in such a massive, groundbreaking show. I have two photos I want to talk about: First, and obviously, the dog high-fiving photo. Give me the backstory on that one. The dog high five, perhaps my most memorable photo, is also one of my personal favorites. This photo almost didn't

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happen. It was the summer of 2010, and I was on the way to a weekend show at the haunted Brookdale Lodge in the Santa Cruz Mountains. I couldn't find my ID but we said fuck it, we'll risk it, and somehow get me in there. The weekend was insane. We rented rooms and just got completely thrashed, convincing one of the guys working to give us a midnight tour of the property and all the haunted rooms and cabins. It was gnarly. He told us the story of all the people who had died there, and apparently there was a ghost of a little girl who roams the property. I still have nightmares about her. Anyway, the morning we were leaving, a couple of us were milling around the parking lot, and a guy was there with his beautiful dog. We started chatting it up, and his proud little dog showed us all the tricks he knew. He would jump from the ground onto the roof of the truck. I'd never seen a dog jump that high. He bounced into the open

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window of the truck, turned, and the guy just went in for a high five. I didn't even know it was going to happen. I was blown away. I regret not getting his contact information. I would love to send him a print. I love the photo of the back of the pick-up truck driving on the highway in the mountains. It’s a bit more subdued, but has this great hint of freedom, of moving fast, of moving on. Where were you? This photo was taken on the “road trip from hell” back from Portland, one of the funniest, most exhausting trips I've been on. I also love this photo, taken with a disposable. It's not especially good in any sense of the word, but the feel of it is so nice. That feeling of hot air blowing through your hair and all your best friends in the back seat, giggling and giddy to get home. I love road trips. I only wish I could take more of them.

Are there specific projects you are working on? Are there specific dream projects you want to be working on? Right now I'm finishing up a project with Altamont, planning a new show and coming out with a series of 3D lenticular photos, which I have been working on for months now. Finally, I’m getting finished with my website, and working on a portfolio. My dream would be to work with a company or magazine shooting photos, with a band on tour, or shooting across the state. I've hardly seen this country in which I live, and one of my dreams would be to go and explore it. I'd love to do more video work, and I did recently finish a project I had been working on. I want to create more work, focus my energy on taking better photos, and work on collaborations. I have to ask: Having access to what appears to be a boys’ club, has that ever been an issue or a problem? Or am I asking a question that doesn't need to be asked anymore? I feel like nowadays, it's a question that gets redundant, there are so many badass girls I know who defy the stereotype. Personally, I grew up looking up to my two

brothers, and hung out with the boys for a lot of my teenage years, so I always felt I kind of had a free pass. I was skateboarding, became involved in the local grafti scene, and was shooting photos of these subcultures at a pretty young age. I feel like I had an advantage that maybe other girls my age didn't. But, also, I really never thought about it like that. I never thought I was diferent from any of them. Simply, my experience, the only growing up I knew, was a good one.

For more information about Andrea Sonnenberg, visit andreasonnenberg.com juxtapoz.com / andrea - sonnenberg

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Christian rex van Minnen IntervIew by DaviD Molesky PortraIt by ThoMas huMery

AT THE SUGGESTIVISM NYC EXHIBITION OPENING TWO YEARS AGO, I was asked if I had a favorite piece in the show. I pointed to what, at first glance, looked like a contemporary version of Arcimboldo. It was obvious that some serious intellect and skewed humor was guiding the hands that crafted the painting. An introduction by the owners of the gallery rocket-launched me into the dynamic mind and world of Christian Rex van Minnen. I was intrigued by his technique, and as we started to talk, within a matter of sentences, we were comparing notes on archaic painting terms, even delving into how painting is really alchemy. It was even more impressive to learn how he had stumbled upon such knowledge. Christian did not learn techniques in school or through a workshop, nor could he. His research in books and experimentation led him to reinvent an ancient craft practiced by the Old Masters. He applies it today towards his own brand of storytelling. In conversations, Christian reveals with humble insight how the practice of painting has become a way to process experience and heritage. David Molesky: Can you explain the connection, if any, between your very Dutch-sounding last name and your interest in Dutch Golden Age painting? Christian Rex van Minnen: It's hard to tell if it's coincidence or confluence. The van Minnen name is Dutch in origin. My father, Rex van Minnen, was born in South Africa into a half English, half Afrikaans family, and I believe the van Minnens have been in South Africa since the early 19th century. Like most Americans, my family history and our circuitous path from Europe to America is murky, sometimes intentionally obfuscated. My father emigrated in the ‘70s after protesting apartheid, so communication with that half of the family was difcult until recently, mostly due to the Internet and Facebook. I am interested in the Dutch Golden Age but there is a lot of shadowy history between me and that time and place. I don't think it is responsible to glorify the Dutch Golden Age without understanding and accounting for its negative impact on the world. Much of the abundance depicted in those art works is directly connected to the sufering inflicted upon the world through colonial exploitation.

My work is very much about this reconciliation and the desire to make sense of this history in the context of being American today. At what point did you get serious about making oil paintings? Did your high school or college have a big influence? I always drew. In high school, a great woman named Tish McFee taught me how to paint in oils, and that was that. I never stopped. I received my BA from Regis University, a Jesuit liberal-arts school, and studied a lot of things, eventually majoring in art. I think it’s awesome that your work fits with your name. I wanted to call it Dutch technique, but you corrected me and said that while the compositional structures are based on Rembrandt, the technique is actually Venetian. In your studio, you’ve shown me your under-paintings, which are then over-painted with semi-transparent color. How would you describe “dynamic mixing” and what led you to discover this Old Master technique? From what I understand, the way I paint is similar to the Venetian technique developed by Titian and improved by the Dutch Golden Age painters: Rembrandt, van Schriek, Ruysch, Rubens. I am interested in how these Old Masters’ techniques evolved over 300 or so years, cross-pollinating between North and South, and beyond. Dynamic color mixing is achieved through painting in layers so that light mixes color, instead of mixing on the palette or visually, as in the case of pointillism. Years after college, I stumbled upon the Old Masters and their techniques. I bought a book called Methods and Materials of the Great Schools and Masters by Sir Charles Lock Eastlake, and that book really changed a lot for me. I committed fully to pursuing art professionally in 2006.

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I have been following the development of your new monotypes. When did you start making these works, and where do you produce them now? What does the process look like, and has it given you any insights that could be applied to making finished oil paintings? Do you treat the monotypes as under-paintings and later add transparent color layers? I did a residency at Anderson Ranch Arts Center back in 2011 and did my first monotypes of this variety then. I have had a difcult relationship with line drawing in recent years, and this type of printmaking seems like a great solution. I want to work out ideas with masses and not lines. It is also very similar to how I develop my under-paintings, which are interesting unto themselves, and I actually regret burying them sometimes. In my next show, I will exhibit some of the monotypes alongside my oil paintings.

As far as process goes, basically, I ink an entire piece of plexiglass, then remove sections of the ink with a cloth, brush or my hand, then run it through an etching press onto a nice piece of paper and that's that. Fast, clean(ish) and permanent. I can print as large as 17" x 22" on my press. It allows me to get ideas out quickly without having to draw and fuss too much. I like the fluid qualities of working into a wet film of ink.

top left Red & Green Oil on panel 14” x 11” 2012

I want to keep the monotypes simple for now. My paintings are complex and involve many layers, and many weeks or months of labor, and I like to have something as a counterbalance to that. I can be very impulsive and ridiculous with the monotypes because I don't have to sit with the same one, day after day, week after week, as I would if it were a painting.

right Born Bad Oil on panel 18” x 24” x 2" 2013

For now, I work on monotypes at home when I'm taking care of my baby boy, and can usually squeeze out a couple per week. The rest of the week I'm at my studio just painting.

You referenced noting compositional divisions on your canvas that guide where you apply and wipe away paint to create your under-paintings and monotypes. At what

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top right Tie-Died 6 Oil on panel 24” x 18" 2013

following spread Great Western Bufet Oil on panel 47” x 28” 2012

I can be very ImpulsIve and rIdIculous wIth the monotypes because I don't have to sIt wIth the same one, day after day, week after week, as I would If It were a paIntIng point in this process do you start to infuse pop-cultural elements: tie-dye, tattoos, and various bling? And what inspires you in your selection? Yeah, I remember you had a great name for that, didn't you? Rabat lines? Well, I sort of stumbled upon that in studying Rembrandt's work, the way he used the same basic geometry in all of his portraits, a stable pyramid at the base that is the result of two diagonal lines, one from corner to corner, and the other intersecting line from the opposite corner to the middle point of the vertical side of the canvas. With that basic geometric restraint, you can kind of vomit up anything into a composition and it looks good. It's that simple! It's hard work to build the environment, the light and the basic mannequin, but then I can have some fun with the tattoos, fleshy disturbances, tie-dye, and all the accoutrements. It can feel like self-sabotage at times but I like that. I like to play with dissonance, humor and the

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abject. I used to be a little self-destructive and it plays well in paint; in fact, that's pretty much the only place where that particular characteristic plays out well.

top left Untitled #498 Monotype / Ink on paper 11” x 15" 2013

You’ve got a good following on Facebook and Instagram. It has definitely been a convenient way to keep up with your work. How have these sites helped you with feedback, and do you ever find it distracting? I like the social network. I keep it simple and about art, and never anything political or too personal. It's fun. I don't go out to bars or clubs or that many gallery openings really, so it is my way of staying in touch. Now that I'm in New York, I am having more IRL studio visits and hang-out sessions with artists I like. That has been really great. It can definitely be distracting, but I need a little distraction sometimes. It doesn't get in the way of my work.

top right Untitled #500 Monotype / Ink on paper 11” x 15" 2013 right Say in With Flowers Oil on linen 14x11" 2013

What spurred you to transplant yourself and the family from Colorado to Fort Greene, Brooklyn? How does life in New York afect your work? We found out we were going to have a baby and we were like, “Hey, now would be a good time to move to New York, huh?" That's how we roll. We've lived in Denver, LA, Seattle, Mexico City, and Carbondale, Colorado in the past seven years. Lots of adventuring and lots of temporary studios in garages, living rooms, and closets. We’re kind of excited to settle down for a while. Brooklyn is really nice. It's great that you don’t have to drive and that you are around all this great art and city type stuf. I do miss western Colorado, family, and the desert sometimes, though.

my time, that's for sure. My wife, Ashley Muse, is the best partner a man could ask for. We have designed a unique lifestyle for ourselves and now we are designing a unique lifestyle for our family. We are a tight ship. We have the power. I have to stay focused on not fucking it all up.

Congratulations on Desmond, your baby boy! How does being a father afect your life as an artist? I've never been so happy. I have to be very efcient with

For more information about Christian Rex van Minnen, visit christianvanminnen.com

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Now that you are on such a great roll, what should we look for in the near future? I am having my first solo show in Europe with Gallery Poulsen in Copenhagen, in May, 2014. Be on the lookout for that.

juxtapoz.com / christian - rex - van - minnen

top left Tie Died #4 Oil on panel 10” x 8” 2013 top right Still-Life with Tupac Oil on panel 24x36" 2013 right Piggy Boy Oil on panel 14 x 11” 2012

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travel insider

Dallas CirCuit 12 Contemporary gives the lowdown in the lone star state

OPEN HIGHWAY-PACED, rapidly growing metropolitan center, gateway to the Southwest, Dallas is a gem of Texas. A major hub for everyone from major corporations, fashion entities, and Mexican cartels, to what some here refer to as “God’s Team,” if you find yourself in Dallas, be prepared for an acute onslaught of shameless self-pride in all things local. Even as it relates to the art scene, Dallas and its inhabitants exhibit a natural sense of pride in their city and its collective accomplishments. Dallas once felt like the complete antithesis of creative hubs like Marfa and Austin, both rich in eccentric culture and pristine surroundings, as well as tall tales of James Dean and Willie Nelson. Dallas is a money town with a serious cultivation for socializing and nightlife—a Monopoly board for the privileged. Moving back after a long absence, I was astonished to find a city clearly on a mission to dominate, wide awake and thriving in newly coined philanthropic feats like the Dallas Art Fair, Dallas Contemporary, Perot

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Museum, Klyde Warren Park, the Winspear Opera House, and our Calatrava Bridge.

1 | Circuit 12 emporary 2 | Good Records 3 | Centre Shop

The Dallas Design District has many striking luxury interior design showrooms, modeling agencies, contemporary art galleries, beautiful high rises, and swank eateries that rival any city. Even compared to my old digs right outside of the Miami Design District, Dallas wins hands down. Circuit 12 Contemporary, the gallery I run, along with my husband, Dustin Orlando, is on Dragon Street. Pop in for a drink during the Art Walk, which takes place every four to six weeks in the design district and downtown. We always keep it interesting with our show rotation of emerging and mid-career contemporary artists, and art parties for the fashion set. Galleri Urbane on Monitor Street is another amazing space, via Marfa, presenting cutting-edge and groundbreaking contemporary art. Stellar not-for-profit space Dallas Contemporary changed the game in the design district with their massive presence and incredible

4 | Centre Shop 5 | Klyde Warren Park

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If you fInd yourself In dallas, be prepared for an acute onslaught of shameless self-prIde In all thIngs local. even as It relates to the art scene, dallas and Its InhabItants exhIbIt a natural sense of prIde In theIr cIty international roaster. Contemporary Art Dealers of Dallas (CADD) is another great way to see what is going on in the Dallas art world. A few more great picks for art here in Dallas are That That, Power Station, Oliver Francis Gallery, Beefaus, WAAS Gallery, Reading Room, The Public Trust, Centraltrak, and RE Gallery. For eats, Dallas is hard to beat. If you love Mexican food or barbecue, you win. And the competition goes hard over the best tacos in the city. Most people love Fuel City Tacos, Torchy’s Tacos, Urban Taco, and both Cesar’s Tacos and Mi Ranchito in Oak Clif. Vegan enchiladas your fancy? Check out BEE’s (as in Best Enchiladas Ever. Enough said.) When it comes to BBQ, Lockhearts in Bishop Arts and the Original Sonny Bryan’s on Inwood Road are sure to please. For street fare, check out Truckyard, ofering an array of food trucks and a treehouse bar. Chicken Scratch has some of the

best fried chicken in town. Blind Butcher is a new cultural phenomenon on Greenville Avenue for food and drinks. Getting around the city is a breeze with a vehicle. There are some great parks and trails, Katy Trail in Uptown and Klyde Warren Park in downtown for bike enthusiasts or joggers. To the dismay of many, few bike lanes in the city and pervasive biker disdain of drivers does not make Dallas a great place on two wheels. Or two feet, for that matter. Don’t plan on being a pedestrian. Dallas is a huge city, spread out into many neighborhoods, districts, subdivisions, estate lots, and everything from prime retail slots to well-disguised public housing. Dallas Area Rapid Transit (DART) runs trains and buses from around 5am to midnight, but keep as a last resort. Upon arriving in the country's fourth largest metropolitan area, in need of a fresh outfit once the jet lag wares of, don’t fret. For fierce, high fashion society fever, Forty Five Ten on april 2014

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McKinney Avenue, Stanley Korshak, Ten Over Six, and the original Neiman Marcus in Downtown are for you. For sneaker heads and skaters, Centre, ATAMA, and Rec Shop are the jam. Step into a swag time machine upon entering Dolly Python or Lula B’s—only the finest vintage fare around. Music is no joke here—Dallas is a city with major soul. Your local indie spot is Good Records on Greenville Ave, an institution in the Dallas music scene and a great small venue for in-store shows and parties. Catch the Gorilla Vs. Bear Festival or Ishi playing at the Granada, one of the biggest, oldest, and coolest indie venues in Dallas. Trees in Deep Ellum is a permanent fixture on the alternative scene. If you really want to dance your ass of, DJ Blake Ward & DJ Sober at Beauty Bar or It’ll Do are party scene favorites. Drinks at Cedars Social and the exclusive Smyth are out of control. If you make it north on i-35 to Denton, Hailey’s and Rubber Gloves are college town fixtures and the breeding grounds for bands like Midlake and Neon Indian.

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Micro breweries and artisan markets like the Lakewood Brewing Company and Jimmy’s Food Store are East Dallas staples. We Are 1976, Nest, and Society are amazing places to find design oriented knick-knacks and sleek housewares and accessories. Dallas will always be home for me, even after stints in Boston, Miami, and Hawaii. After getting married, having a baby, and building a booming art gallery, I once again find myself happily back home. So should you, if you find yourself in this city, and you enjoy art and culture, hearty food, new friends, and just plain good times—trust me, this place will surprise you in the biggest of ways. —Gina Orlando

Circuit 12 Contemporary in Dallas exhibits the works of Jux favorites Casey Gray, Clark Goolsby, and Dean Monogenis. For their schedule, visit circuit12.com juxtapoz.com / dallas

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1 | Trinity Groves 2 | RE Gallery 3 | Oil and Cotton 4 | Klyde Warren Park

beautiful bits

DevArt Art And Code As one

TECHNOLOGY-BASED ART CAN A BIT OF A TOUGH SELL. Getting people with scant knowledge of coding to transition from traditional to digital tools can be a challenge, even for a new generation of artists. So gargantuan Google has thrown its hat into the ring with DevArt, a contest oriented around creating art utilizing a combination of code, hardware, and openly available data in a unique and, hopefully, beautiful way. As part of the contest, artists will have the chance to win a commission at the Barbican in London. Zach Lieberman, Varvara Guljajeva, Mar Canet, and Karsten Schmidt have all been chosen by the program to lead the challenge, beginning their projects which will be featured in the Barbican exhibit. Video sneak peeks are available on the DevArt website, as well as all necessary information about competition rules. While a commitment to progressive code changes and documenting your progress is integral to the process, this aspect is certainly unique to art contests.

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Entrants must submit a proposal page showcasing and chronicling developments as well as their ingenuity in resolving the inevitable ensuing hurdles. In no less than five separate posts they must show judges, who will be monitoring the progress of entrants, why their project should be selected for the semi finals. This will also be accompanied by projects labeled as "featured" on the main page by the three commissioned artists. This huge opportunity to be placed on such a prominent and growing stage like the Barbican will surely herald in new and exciting artists into a previously unexplored area of art. —Nick Lattner

For more information about DevArt, visit devart.withgoogle.com juxtapoz.com / beautiful - bits

Beyond the story: The Barbican in London has long been at the forefront of combing the world of technology and art and featuring the marriage in a museum format. From media artist Cory Arcangel’s “Beat the Champ” in 2011, to the “Digital Revolution” exhibition in the summer of 2014, the curators at Barbican remain a champion of the future of digital and new media art.

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